Primary - Utah Regional Music Workshop

Transcription

Layton Utah
Music Workshop
Sing forth the honour of his name;
make his praise glorious.
Psalms 66:2
Layton Utah North Stake Center
September 13, 2008
Layton Utah North Stake Center
1954 East Antelope Drive
Classes will be 50
minutes. Please
let out on time.
Classes subject to change
Stake Center
Chapel
9:00 A.M. to
9:40 A.M.
Stake Center Relief
Society Room
Stake Center
Primary
Rooms 15 - 17
Stake Center
Multi Purpose
Rooms 8 - 10
Stake Center
Multi Purpose
Rooms 23 - 25
Bringing the Spirit
of Music Into
Priesthood
Meetings
Teen Beginning
Vocal
Nancy Squires
Lindsay Hickman
Stake Center
Cultural Hall
Opening Session
Elder Kent Murdock
9:50 A.M. to
10:40 A.M.
10:50 A.M. to
11:40 A.M.
11:50 A.M. to
12:40 P.M.
12:50 P.M. to
1:40 P.M.
1:50 P.M. to
2:40 P.M.
2:50 P.M. to
3:40 P.M.
Church Music
Policies
Elder Kent Murdock
Faith Cooper
Jean Applonie
Church Music
Policies (repeat)
Come Home To
The Hymns
Intermediate
Choral Conducting
(Repeat)
Elder Kent Murdock
W. Herbert Klopfer
Jean Applonie
Nancy Squires
Lindsay Hickman
The Prophets
Speak On Music
Choir Rehearsal
Techniques
and
Analyzing a Song
Choosing to
Produce "Savior
Of The World"
Create A Strong
Stake Choral
Library and Cut
Costs!
Teen Intermediate
Vocal (Repeat)
W. Herbert Klopfer
Jean Applonie
Chris Harmon
Rene Fisher
Lindsay Hickman
Ward Choir Ideas,
Helps and Hints
Participating in
Congregational
Singing
Directing "Savior
Of The World"
Stake and Ward
Music Chairman
Round Table
Relief Society 5
Minute Music
Helps
Merrilee Webb
W. Herbert Klopfer
Chris Harmon
Vida Gruendell
Annette Dickman
Teen Choir
Experience
Integrating Music
Into Gospel
Learning
Adult Intermediate
Vocal
Adult Beginning
Vocal
Merrilee Webb
W. Herbert Klopfer
Martha Gutierrez
Lindsay Hickman
Teen Choir
Experience
(continuation)
Questions and
Answers
Adult Intermediate
Vocal (Repeat)
Relief Society 5
Minute Music
Helps (Repeat)
Merrilee Webb
W. Herbert Klopfer
Martha Gutierrez
Annette Dickman
Fireside
3:50 P.M. to
5:00 P.M.
Adult Beginning
Intermediate
Choral Conducting Choral Conducting
Alex Boyé
Jon Schmidt
Celena Shafer
Bringing the Spirit
Teen Intermediate
of Music Into
Vocal
Priesthood
Meetings (Repeat)
Lunch A
Lunch B
Lunch C
Layton Utah Heather Glen Building
2025 East Antelope Drive
Classes will be 50
minutes. Please
let out on time.
Classes subject to change
Heather Glen
Chapel
Heather Glen
Relief Society
Room
Heather Glen
Primary Room
Heather Glen
Rooms 106 - 108
Heather Glen
Cultural Center
Three
Heather Glen
Cultural Center
One
Organ Basics
Adults and Teens
Using Music in
Missionary Work
Church Music
Website
Teen Music For
Life: What Do I
Choose?
2009 Primary
Sacrament
Program Helps
The Church's
Keyboard Class Teacher and
Student
Liz Whatcott
Margaret Dibble
Larry Yurth
Brooke Hugh
Elizabeth Ricks
Janet Grant
Organ
Intermediate
Techniques
Appropriate Music
in Sacrament
Meeting
Church Music
Website (Repeat)
Teen Music For
Life: What Do I
Choose? (Repeat)
2009 Primary
Sacrament
Program Helps
(repeat)
The Church's
Keyboard Class Teacher and
Student (Repeat)
Dan Harrison
Kathy Skidmore
Larry Yurth
Brooke Hugh
Elizabeth Ricks
Janet Grant
9:00 A.M. to
9:40 A.M.
9:50 A.M. to
10:40 A.M.
10:50 A.M. to
11:40 A.M.
11:50 A.M. to
12:40 P.M.
12:50 P.M. to
1:40 P.M.
1:50 P.M. to
2:40 P.M.
2:50 P.M. to
3:40 P.M.
3:50 P.M. to
5:00 P.M.
Organ
Registration
Appropriate Music Teaching Children
the Gospel
in Sacrament
Through Music
Meeting (Repeat)
Pat Graham
Music for YW/YM
Activities
Teen Beginning
Conducting
Heidi Semadeni
Faith Cooper
Liz Whatcott
Kathy Skidmore
Adults and Teens
Using Music in
Missionary Work
(Repeat)
Accompanying
Techniques
Margaret Dibble
Lois Matthews
Pat Graham
Heidi Semadeni
Hymn
Enhancements for
Ward Choirs
Accompanying
Techniques
(Repeat)
Primary Songs
and Their Origin
Part I
Hints to Help
Beautify
Children's Voices
Feeling The Spirit
When Playing
Instrumental
Music
Creating Family
Musical Memories
Kathy Skidmore
Lois Matthews
Pat Graham
Karen Stephens
Jaron Packer
Janie Nebeker
Hymn
Enhancements for
Ward Choirs
(Repeat)
Preludes and
Postludes, Not
Performances
Primary Songs
and Their Origin
Part II
Hints to Help
Beautify
Children's Voices
(Repeat)
Feeling The Spirit
When Playing
Instrumental
Music (repeat)
Creating Family
Musical Memories
(Repeat)
Kathy Skidmore
Lois Matthews
Pat Graham
Karen Stephens
Jaron Packer
Janie Nebeker
Why We Feel The
Spirit When
Serving With
Music
Teaching Children
Music for YW/YM
the Gospel
Activities (Repeat)
Through Music
(Repeat)
Brooke Hugh
Announcements
Thank you.
This workshop is funded by ten combined stakes in Layton. We appreciate the support of each stake president in making
this event possible. We also appreciate the support of the High Councilors over music in each stake.
Using the syllabus.
Please take a moment to familiarize yourself with the syllabus. On page 6, you will find an index of the
classes where they are grouped together by subject. Classes of interest can then be located in the Class Schedule on pp 2-3. If you need more
information about a class or a presenter, please consult the Class Description section (pp.7-10) and the Presenter Profiles (pp.11-13). Handouts
for each category and class can be located by consulting the page numbers listed on the Index of Classes.
Guidelines for presenters. The guidelines from the Church General Music Committee indicate that using published material
at the workshop is acceptable as long as no single publisher is highlighted, no affiliation with any publisher is mentioned, and no endorsement
of any product is made.
Evaluation form. Included with the syllabus is an evaluation form. Please give us your comments. Names are optional, but we
would appreciate knowing your stake. They can be returned to the Evaluation Forms boxes located near the main entrance to each building.
Safety.
In an effort to fill the many desires of those attending the workshop, we have included classes in two buildings—the Layton
North Stake Center and the Heather Glen building. They are located almost directly across the street from each other. Please be careful when
crossing the street!
Disclaimer. Although every effort has been made to produce a complete and accurate syllabus, some mistakes may have occurred.
Information provided at the Layton Utah Music Workshop and presented in the Syllabus is intended for general guidance only and not as official Church policy, unless otherwise stated.
Acknowledgements
So many people have helped to make this day a success. We wish to recognize them.
Layton Utah Music Workshop Committee
President Cleve M. Dibble, Priesthood Advisor
Layton South Stake President
Renee Packer, Workshop Committee Chairman
Reanna Rosenvall, Workshop Committee Co-Chairman
Judy Bell, Lunch Committee Chairman
Kent Ellis, Physical Facilities Chairman
Julie Jenkins, Registration Chairman
Marcina Shannon, Fireside Chairman
Richard Maughan, Curriculum Chairman
Merrilee Schwab, Computer Chairman
Scott Tanner, Lunchtime Performers
Mary Ann Meese, Volunteers and Choir
Computer Committee
Nancy George, Layton Utah Stake Music Chairman
Tamra Critchlow, Layton Hills Stake Music Chairman
Fireside Committee
Chris Harmon, Layton East Stake Music Chairman
Registration Committee
Jennifer Fackrell, Layton West Stake Music Chairman
Physical Facilities Committee
RaeAnne Blood, Layton North Stake Music Chairman
Mark Elkins, Layton Holmes Creek Stake Music Chairman
Lunch Performers Committee
Vida Gruendell, Layton South Stake Music Chairman
Volunteers and Choir Committee
Lisa Meinzer, Layton Northridge Asst. Stake Music Chairman
Host Stake
Layton North Stake
RaeAnne Blood, Layton North Stake Music Chairman
Workshop Choir
Kathy Skidmore, Choir Director
Christie Canfield, Accompanist
Luncheon Committee
Cindy Southwick, Layton Creekside Stake Music Chairman
Paul Day, Layton Kays Creek Stake Music Chairman
Thanks to all of the volunteers who worked behind the scenes both in helping with preparations for the Workshop and on the day
of the Workshop—it could not have been done without you. Thanks also to the many Workshop Choir members who greatly
enhanced the day’s events!
Layton Utah Music Workshop
4
September 13, 2008
Schedule of Events
Opening Session
9:00–9:40
Layton North Stake Center Chapel
Prelude and Postlude ................................................................................................................... Patty Nielson
Forest Park Ward
Layton North Stake
Layton Utah Music Workshop Choir
God Loved Us, arranged by Kathy Skidmore
Kathy Skidmore, Choir Director
Christie Canfield, Choir Organist
Ryan Kemp, Viola
Welcome................................................................................................................. President Cleve M. Dibble
Layton South Stake President
Opening Hymn ............................................................................................. Hymn #71 With Songs of Praise
RaeAnne Blood, Stake Music Chairman
Layton North Stake
Opening Prayer.............................................................................................................................. David Hurst
Oakridge Ward
Layton North Stake
Introduction of Keynote Speaker............................................................................ President Cleve M. Dibble
Keynote Speaker.......................................................................................................... Elder Kent H. Murdock
Area Seventy
Special Musical Number ........................................................................ Layton Utah Music Workshop Choir
Come Thou Fount of Every Blessing, arranged by Kathy Skidmore
Christie Canfield, Piano
Susan Halfmore, Organ
Workshop Classes
9:50–3:40
Layton Utah Music Workshop Fireside
3:50–5:00
Prelude......................................................................................... Layton Utah Music Workshop Youth Choir
Alex Boyé
Jon Schmidt
Celena Shafer
Closing Prayer ............................................................................................................................................ JoAnne Thomson
Greenleaf Ward
Layton West Stake
5
September 13, 2008
Index of Classes
Category
Class Title
General—Handouts Adults and Teens Using Music in Missionary Work
Appropriate Music in Sacrament Meeting
start on page 17
Church Music Policies
Church Music Web Site
Come Home To the Hymns
Creating Family Musical Memories
Integrating Music Into Gospel Learning
Participating in Congregational Singing
Questions and Answers
The Prophets Speak on Music
Why We Feel the Spirit When Serving with Music
Presenter
Margaret Dibble
Kathy Skidmore
Elder Kent H. Murdock
Larry Yurth
W. Herbert Klopfer
Janie Nebeker
W. Herbert Klopfer
W. Herbert Klopfer
W. Herbert Klopfer
W. Herbert Klopfer
Brooke Hugh
Adult Beginning Choral Conducting
Choir Rehearsal Techniques and Analyzing a Song
Hymn Enhancements for Ward Choirs
Intermediate Choral Conducting
Ward Choir Ideas, Helps, and Hints
Faith Cooper
Jean Applonie
Kathy Skidmore
Jean Applonie
Merrilee Webb
Adult Beginning Vocal
Adult Intermediate Vocal
Lindsay Hickman
Martha Gutierrez
Organ—Handouts
start on page 43
Organ Basics
Organ Intermediate Techniques
Organ Registration
Liz Whatcott
Dan Harrison
Liz Whatcott
Instrumental—
Accompanying Techniques
Feeling the Spirit When Playing Instrumental Music
Preludes and Postludes, Not Performances
The Church’s Keyboard Class—Teacher and Student
Lois Matthews
Jaron Packer
Lois Matthews
Janet Grant
Choral—Handouts
start on page 31
Vocal—Handouts
start on page 37
Handouts start on
page 49
start on page 55
Hints to Help Beautify Children’s Voices
Primary Songs and Their Origin, Part I and II
Teaching Children the Gospel Through Music
Elizabeth Ricks
Karen Stephens
Pat Graham
Pat Graham
Auxiliary—
Bringing the Spirit of Music Into Priesthood Meetings
Choosing to Produce “Savior of the World”
Create a Strong Stake Choral Library
Directing “Savior of the World”
Music for YW/YM Activities
Relief Society 5 Minute Music Helps
Stake and Ward Music Chairmen Roundtable
Nancy Squires
Chris Harmon
Rene Fisher
Chris Harmon
Heidi Semadeni
Annette Dickman
Vida Gruendell
Teen Beginning Conducting
Teen Beginning Vocal Class
Teen Choir Experience
Teen Intermediate Vocal Class
Teen Music For Life: What Do I Choose?
Faith Cooper
Lindsay Hickman
Merrilee Webb
Lindsay Hickman
Brooke Hugh
Primary—Handouts 2009 Primary Sacrament Program Helps
Handouts start on
page 63
Youth—Handouts
start on page 75
6
September 13, 2008
Class Descriptions
Key to building names
SC — North Stake Center
HG — Heather Glen Building
2009 Primary
Program Helps
Sa crament
Elizabeth Ricks
HG Cultural Center Three
9:50 & 10:50
This class will discuss the songs that
the children will be learning in 2009
and different ways to present those
songs. Three new songs will be introduced.
Lois Matthews
HG Relief Society Room
12:50 & 1:50
share personal testimony through music no matter their skill level will be
discussed.
Adult Beginning Choral
Conducting
Faith Cooper
SC Relief Society Room
9:50
This is a hands-on class to introduce
the wonderful world of choral conducting. We will discuss arrangements,
rehearsals, and will learn the secret that
will bring a beautiful choral sound to
ANY choir! We will also work with an
accompanist to give the practical skills
necessary to lead a choir and bring
musicality and the Spirit to every performance.
our Sacrament meetings if it is truly
appropriate, prepared and in tune. Explore how to make congregational
hymns and preludes and postludes
more effective. Learn how to choose
music that is worthy of worship and
how to perform special numbers in a
more sacred, dignified manner, thus
enhancing the spoken word and testifying of the Savior.
Bringing the Spirit of Music Into
Priesthood Meetings
Nancy Squires
SC Multi-Purpose Rooms 8-10
9:50 & 10:50
This class will focus on Church guidelines for music and the Priesthood. We
will discuss what should be done, why
we should include music, and how to
strengthen Priesthood meetings
through music. There will be some
class discussions and some special
guests to perform.
Learn to be a more confident and effective accompanist and collaborator in
the following areas:
•
•
•
•
•
•
•
This class will teach adults to understand
to basic vocal instrument, proper breathing and will concentrate on vocal freedom and resonance. The class is ideal
for solo, ensemble or choral singers.
Choir Rehearsal Techniques and
Analyzing a Song
This class will teach how to prepare to
rehearse the choir through music
analysis and use that analysis to create
rehearsal strategies; an overview of
effective rehearsal strategies.
Primary
Relief Society
Priesthood
Sacrament Meeting
Ward Choir
Musical Numbers
Special Events
Tips, tricks, advice, and stories from
experi enced a cco mp a nists and
‘accompanees’ that will help you play
with beauty and refinement in group
settings. When accompanying soloists
or special numbers learn why collaborating is important.
Adults and Teens Using Music in
Missionary Work
Margaret Dibble
9:50
Lindsay Hickman
1:50
Martha Gutierrez
1:50 & 2:50
In this class we will discuss the concepts of breathing, resonance and phonation. We will explore daily warm
ups, mapping resonators, the application of diaphragmatic breathing and
other terms. We will sing as a group
and for each other.
Appropriate Music in Sacrament
Meetings
HG Chapel
12:50
Kathy Skidmore
10:50 & 11:50
This class will focus on gaining an
appreciation for music with an emphasis on preparation for using music in
all kinds of missionary service in and
out of the mission field. Helping participants to recognize the spirit and to
Are we just “Scattering Sunshine” or
singing a worshipful “Praise to the
Lord?” Are special numbers “new age”
in style or concert/recital pieces rather
than sacred invitations to feel the
spirit? Music can intensify the spirit in
7
Jean Applonie
11:50
Choosing to Produce “Savior of
the World”
Chris Harmon
SC Primary Rooms 15-17
11:50
Come experience the spirit of “Savior
of the World”, as well as answer questions such as the amount of people,
time and finances required. Learn
about the blessings that come to individuals and stakes that participate.
September 13, 2008
Class Descriptions
Church’s Keyboard
Teacher and Student
Class—
Janet Grant
HG Cultural Center One
9:50 & 10:50
This course is offered through the
church as the “Basic Music Keyboard
Course.” This class is for those who
want to learn how to read music and
play a keyboard instrument. Students
do not need any previous musical training. This course is to help you effectively teach the “Church Music Keyboard Course” to members of your
stake or ward. They will in turn be able
to serve as an accompanist in their
ward or branch. You will learn how to
help students learn simple skills and
musical principles and have a lot of fun
doing it!
SC Chapel
9:50 & 10:50
This will be a presentation on Church
Music Policies. It is designed for all
Priesthood leaders, Stake Music Chairmen, Ward Music Chairmen, and any
others with interest in the topic.
Come Home to the Hymns
W. Herbert Klopfer
10:50
Come home to the hymns by singing
them more frequently, using the words
of hymns and children’s songs in support of teaching gospel principles, and
feeling the power of hymns motivating
individuals to righteous actions – all
illuminated by soul-stirring stories and
anecdotes.
Create a Strong Stake Choral
Library and Cut Costs!
Rene Fisher
11:50
Music libraries are a valuable tool for
both the Stake and Ward directors. It’s
important to have a complete list of all
music in the library, with information
that includes the composer, number of
pieces, and what parts the music is
written for. This information not only
saves time, but money. Having a library system also helps manage where
the music is, who has checked it out,
their ward and phone number, so you
can ensure the music is returned.
How can we get children to sing with
the Spirit? What are the best techniques for teaching a song? Come
armed with questions, ideas, conversation – and especially a love of the
sweet sound of children’s voices!
Creating Family Musical
Memories
Kathy Skidmore
HG Chapel
1:50 & 2:50
Janie Nebeker
1:50 & 2:50
Learn ways to build family religious,
patriotic and cultural heritage through
musical memories.
Directing “Savior of the World”
Chris Harmon
12:50
Layton East Stake’s production staff
discusses auditions, directing the
scenes and music, costumes, props and
scenery, etc. as well as spiritual principles that give power to the preparation.
Feeling the Spirit when Playing
Instrumental Music
Jaron Packer
HG Cultural Center Three
1:50 & 2:50
What is spiritual intonation and how
can we acquire it? How do we musically and spiritually prepare for a musical number? Yes, preparation musically is important, but are you spiritually in tune? There may be more to this
preparation than you think.
Hints to Help Beautify Children’s
Voices
Karen Stephens
HG Rooms 106-108
1:50 & 2:50
“No Louder Than Lovely” will discuss
hints and ideas to help beautify a
child’s voice. So often we ask children
to sing their “very loudest” – hurting
their tender vocal chords and getting a
far less beautiful sound in the end.
How do we get that beautiful sound?
8
Hymn Enhancements for Ward
Choirs
Do you want your choir to sound less
“congregational?” Learn simple, yet effective ways to put new life and greater
meaning into a hymn arrangement, helping to convey more spirit and testimony
by varying the accompaniment, voicing,
tune, meter or key or by pairing with
another hymn or primary song.
Integrating Music Into Gospel
Learning
W. Herbert Klopfer
1:50
Since good music should permeate
every meeting and activity in the
Church, isolating it and administering
it differently than everything else in the
Church does not increase the spiritual
growth of members as well as integrating it into priesthood work and auxiliary organizations. Integrated music
allows members to teach, learn, lead,
fellowship, serve, and worship more
effectively in the Church.
Jean Applonie
9:50 & 10:50
Enjoy a brief review of conducting
basics and tackle issues of preparatory
beats, cut-offs, stop technique, fermata,
syncopated beats, fractional beat entrances, dual roles of left and right
hands, multi-meter, and asymmetrical
meter.
September 13, 2008
Class Descriptions
Heidi Semadeni
HG Rooms 106-108
11:50 & 12:50
Learn about the importance of music at
YW/YM activities, including Girls
Camp and Scout Camp. We will discuss what kinds of songs are appropriate and when they should be sung, how
to help our youth lose the “cool card”
so we can reach them, and how to
bring them back to that “place” where
they can discover who they are and
who they can become.
Organ Basics
Liz Whatcott
HG Chapel
9:50
The beginning organ class will introduce
parts of the organ, teach basics of keyboard and pedal techniques, and discuss
basic guidelines for registration.
Dan Harrison
HG Chapel
10:50
This class will teach advanced keyboard and pedaling techniques. More
information on proper organ registration will also be presented.
Organ Registration
Liz Whatcott
HG Chapel
11:50
This class will focus solely on organ
registration. Learn what each of the
four different families of organ pipes
are and how to combine them for beautiful and effective sound.
Participating In Congregational
Singing
W. Herbert Klopfer
12:50
President Thomas S. Monson has said
that we must “learn once again in The
Church of Jesus Christ of Latter-day
Saints to really sing.” Congregational
singing has slipped in North America
and in some other areas of the Church.
We will review counsel given by our
leaders to sing the hymns of Zion more
frequently and more enthusiastically.
Preludes and
Performances
Postludes,
Not
Lois Matthews
2:50
An evaluation of the purpose and nature of Preludes and Postludes, including some of the “Do’s” and “Don’t’s”
along with suggestions on how to better understand and magnify your calling. Addresses some of the challenges
of the pianist / organist along with
some suggestions and resolutions
(literally) for the spur of the moment.
Choosing music for Prelude and Postlude, as well as discovering how the
Prelude and Postlude can enhance the
spirit of the meeting or lesson and
leave a lingering impression.
Primary Songs and Their Origin
Part I and II
Pat Graham
HG Primary Room
1:50 & 2:50 (continued)
Learn about the history of Primary and
music for children in the Church in this
two-part class. We will notice interesting details and inspirational stories
from early songbooks to the present
illustrated resource. Bring your Children’s Songbook so we can turn pages,
sing and discuss the songs, composers,
authors, and “trivia” about the preparation of the book. (This class will continue, not repeat, the 2nd hour).
Questions and Answers
W. Herbert Klopfer
2:50
Feel free to ask any questions related
to music in the Church. Submit them in
writing if you feel uncomfortable asking them in class. Answers may include, “I don’t know,” but ask anyway.
Relief Society 5 Minute Music
Helps
Annette Dickman
12:50 &2:50
President Boyd K. Packer once said,
“Those who choose, conduct, present,
and accompany the music may influence the spirit of reverence in our
meetings more than a speaker does.”
The Relief Society Music Director has
a profound impact on the spirit and
instruction in her Sunday meetings.
By magnifying her calling and with
careful preparation she can bring sisters to Christ through the power and
influence of music. She can help them
strengthen their sense of divine worth
and strengthen their families. She can
even find opportunities to provide musical service. As she comes to know
and love the sisters, she can help them
discover and develop their own talents.
Her example, testimony, and faithfulness can even help lead them to the
temple. As she teaches the “doctrines
of the kingdom” through music she
will be an instrument for good in building the Kingdom of God.
Stake and Ward Music
Chairmen Roundtable
Vida Gruendell
12:50
Come gather as current or former stake
and ward music chairmen to share ideas
that will renew your love and enthusiasm for music. Discuss how to bring
uplifting musical opportunities to wards
and stakes with fresh and appropriate
ideas. Share how to organize your
wards and stakes to have music enrich
the lives of all members. Review handbook policies and procedures. Come
with questions and answers.
Teaching Children the Gospel
Through Music
Pat Graham
HG Primary Room
11:50 & 12:50
We will discuss ways a music leader
can accomplish the purposes of music
9
September 13, 2008
Class Descriptions
in Primary by making a successful
plan, asking questions to involve all
the children, and changing the pace in
teaching. Songs from the 2009 Primary
Sacrament Program will be demonstrated. Bring your Children’s Songbook.
Faith Cooper
11:50
This hands-on class is designed to help
the youth feel comfortable with basic
beat patterns. We will learn how to begin and close a hymn. We will discuss
tempo and dynamics. We will be working with an accompanist to perfect our
skills and gain practical experience.
Teen Beginning Vocal
Lindsay Hickman
9:50
This class will help teens to understand
the basic vocal instrument, proper
breathing, relaxation and resonance.
The class will also demonstrate appropriate music and vocal style for special
numbers in church settings.
Teen Choir Experience
Merrilee Webb
SC Chapel
1:50 &2:50 (continued)
This choir class is a fast-paced, active
participation class that wakes up your
brain so you can do what your body is
really capable of! We’ll also perform
today, so let’s get ready! Come to one
or both hours offered.
Teen Intermediate Vocal
Lindsay Hickman
SC Rooms Multi-Purpose 23-25
10:50 & 11:50
This class will review the basic concepts of singing and explore deeper
concepts such as anatomy of the vocal
mechanism, diction, vocal style and
resonance. Ideal for teens who have
some vocal experience, this class will
appeal to those who are interested in
performing solos in church settings,
participating in musical theater, or pursuing classical music.
Teen Music for Life: What Do I
Choose?
Brooke Hugh
HG Rooms 106-108
9:50 & 10:50
How can you know what music to
choose that will help you survive your
teenage years? Do you have a teenager
who is having a difficult time finding
the right kind of music? Is the
“MoTab” your only option? Come
discuss some important principles in
selecting music that will entertain and
edify for a lifetime.
The Prophets Speak On Music
W. Herbert Klopfer
SC Chapel
11:50
President Thomas S. Monson and many
other General Authorities have spoken
extensively on music over the years.
Much of it has been taught in general
conferences. The Brethren have also
used the words of hymns and children’s
songs in support of teaching gospel
principles in many general conferences.
In this class, special emphasis will be
given to playing appropriate organ preludes and postludes in sacrament meetings and other worship services.
Ward Choir Ideas, Helps, and
Hints
Merrilee Webb
SC Chapel
12:50
Tried and tested ideas to encourage all
to participate in ward choir. Helps for
the choir director to make rehearsals
fun, interesting, fast paced, musically
satisfying and spiritually based.
Why We Feel the Spirit When
Serving with Music
Brooke Hugh
12:50
According to Paul “the fruit of the
Spirit is love, joy, peace, longsuffering,
gentleness, goodness, faith, meekness,
temperance” (Gal. 5:22-3) Anonymous
once said: “Music is what feelings
sound like.” Join us to discuss how
Heavenly Father uses music to communicate the feelings of the Spirit to
our souls.
Using the Church Music Web
Site
Larry Yurth
HG Primary Room
9:50 & 10:50
Attendees are introduced to the purposes and promise of the Church Music website, and we have a little fun
while we’re at it. As well, a short tour
of the Serving In The Church section
of www.lds.org provides resources
which yield a clearer picture of the
purposes of music in the Church and of
the expectations for church members
serving in music-related callings.
10
September 13, 2008
Presenter Profiles
Applonie, Jean
Dickman, Annette
Jean S. Applonie received her bachelor’s degree in choral music education
and her master’s degree in choral music performance from Brigham Young
University. She taught choral music in
the Davis and Murray School Districts
and served on the music faculty at the
Waterford School. She also operated a
private voice studio in Salt Lake City.
Jean has served as the artistic director
and conductor of Viva Voce, a community women’s choir, since 1994.
Currently a faculty member at BYU,
Sister Applonie directs the BYU
Women’s Chorus and teaches courses
in music education and conducting.
Sister Applonie lives in Salt Lake City
with her husband, Brent.
Annette is an award winner in many of
the Church and Relief Society Music
contests. She graduated from Utah
State University with a degree in music
and has been teaching piano for over
30 years. She has served in Relief Society and Primary presidencies, as a
Ward Missionary, and the Young
Women music director. Annette spent
five years as a Stake Cultural Arts Director when she originated and coordinated the Stake Humanitarian service
projects. She is now serving as her
ward Relief Society President. She
c o mpo se d t he Ea st er C an ta t a
“Alleluia!” which was performed in
the Ogden Tabernacle by the combined
Layton stake choirs. Annette and her
husband Steven are the parents of five
children and grandparents of eight. She
enjoys reading, handwork and quilting,
traveling, and playing with her grandchildren.
Cooper, Faith
Faith was raised in a musical home,
instilling in her a great joy of music. In
college, she sang with the BYU Chamber Choir and then with the Mormon
Youth Chorus. Her love for conducting
really took off after she married. She
will never forget the first time she conducted a choir and the thrill as she
heard the whole ensemble come together. She knew this was for her!
Work took she and her family to Kansas where she had many opportunities
to conduct choirs on the ward, stake
and regional levels. She is now singing
with the Davis Master Choral and enjoys every opportunity she receives to
share her love of music.
Dibble, Margaret
Margaret Dibble grew up on the family
farm in Layton, daughter of Cleve and
Barbara Dibble, and the youngest of
seven children. She has loved music all
her life and is currently studying Piano
Performance at Brigham Young University-Idaho. She recently returned
from serving a full-time mission in
Japan and loved preaching the gospel
and using music as a tool to do that.
Margaret is excited to share her testimony of music and missionary work in
this workshop.
Fisher, Rene
Rene was born in Mt. Carmel, Illinois
in 1954 to Dan and Norma Yarbrough.
She is the second born and has four
brothers and two sisters. She moved to
Kaysville in 1968. Rene graduated
from Davis High in 1972. She has one
son and two daughters, Bryan, Tammy,
and Amanda, and seven grandchildren
(#8 to be born in December!) Rene has
worked for Iomega in Roy for 25
years.
Graham, Pat Kelsey
Pat Graham loves children, music, and
the gospel. She studied education, music, and commercial art, earning a
bachelor’s degree from Brigham
Young University and a Master’s of
Education from the University of Utah.
Her experience as a music teacher in
the Church, at the University of Utah,
and as a piano teacher since 1962,
helped to prepare her for the assignment as chairman of the Children’s
Songbook Committee. Sister Graham
composed five songs included in the
Children’s Songbook: “I Am Like a
Star,” “Picture a Christmas,” “The Nativity Song,” “The Hearts of the Chil-
11
dren,” and “We Are Different.” In
1980, she was called to the Primary
General Board and was asked to create
a monthly Sharing Time page for the
Friend Magazine, which she wrote
until her release in 1988. Other published works include “Sing Out!”
“Sing Out About Families,” “Helping
Children Compose,” and “A Children’s
Songbook Companion.” With her husband, G. Robert Graham, she served a
welfare service mission to Michigan
Detroit. They are the parents of six
wonderful children and twenty-one
grandchildren who call her “Grandma
Music.”
Grant, Janet
Janet has now been teaching piano for
28 years. She has been accompanying
at church since she was twelve. As
soon as she graduated from Primary
she was called to be the organist for the
Primary. She lives in Layton and is the
mother of four and the grandmother of
five. She loves playing and teaching
organ lessons with private students as
well as volunteering to teach organ on
stake and regional levels. Her latest
love is the six and one half years that
she has been volunteering to teach the
church’s “Basic Music Keyboard
Course” at the Ogden LDS Institute. It
is the course set up by the church for
new branches and wards to teach basic
music skills. It is also used by Music
Missionaries. The class at the institute
is for young men and women to take as
a missionary preparation class. Ogden
is the only Institute in the church offering this class at the present time.
Gruendell, Vida
Vida is what she calls a “gospel-made”
musician. She has served as choir director in numerous wards and stakes
throughout the country and overseas
while her husband served in the military. She loves to arrange hymns, play
the piano, and lead music in Primary.
She taught piano for 17 years and has
directed several musical presentations
over the past 35 years. Mother of four
and “Nanna” to 10 grandchildren, she
loves to sing with her family.
September 13, 2008
Presenter Profiles
Gutierrez, Martha
Hugh, Brooke
Soprano Martha Gutierrez has appeared with the Utah Symphony, Utah
Opera Company, Utah Festival Opera
Company, and currently serves as an
adjunct voice faculty member in the
Department of music at Weber State
University in Ogden, Utah.
Brooke Hugh is a life-long resident of
Davis County where he learned to play
the French horn and began his musical
training. He now lives in Layton with
his beautiful wife Elizabeth and four
children. In the meantime, he earned
two degrees from the University of
Utah (a double major in Music and
German education and a Masters of
Music Education). He also taught German and music (band, choir, etc.) at
North Davis Jr. High for several years.
He is currently teaching seminary at
the Bountiful Sr. seminary. Bro. Hugh
served a mission in Frankfurt, Germany. He has served as Elder’s Quorum instructor, ward athletic director,
Elder’s Quorum President, ward choir
member, and is currently serving as a
counselor in the bishopric.
Harrison, Daniel C.
Brother Harrison completed a B.A. at
BYU where he studied piano with Professor Robert B. Smith, and Dr. Reid
Nibley, and organ with Prof. Parley
Belnap. He studied one year at the
Royal Academy of Music in London,
holds a Master’s Degree from BYU,
and a Doctorate from the University of
Colorado-Boulder. He lives in Layton
with his wife and near his family, but
commutes to the Bay Area to continue
teaching his private students. He was
called as Ward Organist at age 13 and
has served in that capacity many times
in many wards. He and his wife, JoAnn
are the parents of seven children and
16 grandchildren.
Harmon, Chris
Chris Harmon has a Music Education
degree from BYU, with a vocal emphasis. She has been a junior high
school choir teacher and has taught
voice and piano lessons for 28 years.
She has performed in the Conference
Center’s “Savior of the World” the past
two seasons, and was executive producer and co-director of Layton East
Stake’s production this year. Chris is
the mother of five musical children and
eight grandchildren. In her “spare”
time she enjoys reading, interior design, friends, and discovering new
places to travel.
Hickman, Lindsay
Lindsay has studied voice since age 13.
She graduated from Weber State University in Music, English, and Family
Studies, and has been teaching private
voice lessons in her home for the past 6
years. Performing in community musical theater is one of her passions and
she has participated in several vocal
competitions through the National Association of Teachers of Singing.
Klopfer, W. Herbert
W. Herbert Klopfer has served as a
member of the General Music Committee since 1983. His current assignments include coordinating music at
Church headquarters and providing
music support for regional satellite
stake conferences and worldwide training broadcasts. Herbert is an organist,
pianist, and composer. He has arranged
many organ solo recital pieces. He and
his wife, Carolyn Hamilton Klopfer,
wrote hymn #298, “Home Can Be a
Heaven on Earth.”
Matthews, Lois
Born and raised in Idaho, Sister Matthews has been involved in music since
childhood. Church music callings have
included pretty much everything, starting as the ward organist at age 14. She
has an Associate of Arts from Ricks
College and a BA in Honors English
from Weber State. Lois studied piano
pedagogy at Univ. of Wyoming, BYU,
and Weber State. She has taught piano
lessons for over 35 years. She is a National Certified Teacher of Music
(NCTM), Certified and licensed with
Well-Prepared Pianist Institute
(WPPI), competitive Piano Teams®
coach. She has studied with Barbara
Stucki, Lenora Ford Brown, Madalyn
Taylor, N. Jane Tan, and New York’s
12
Seymour Bernstein. She is the mother
of six and grandmother of 21.
Murdock, Kent H.
Elder Kent H. Murdock was ordained a
Seventy in April, 2006. His Area assignments include three Coordinating
Councils with 28 stake presidents, two
young single adult multi-stake councils, Youth, the Area Allocation Committee, Seminaries and Institutes in the
Salt Lake Area, and the Salt Lake Inner
City Project. Elder Murdock was a
missionary in Belgium and France and
has served as a bishop and stake president. He and his wife, Barbara, have
five married children and seven grandchildren.
Nebeker, Janie Marie
Janie is a mother of six and grandmother of 12. She has served in many
and various music positions in the
church since her early teens. Janie
holds a B.A. from Weber State University in Elementary Education, with a
minor in both Music and German. She
has composed and published many
songs, including 12 school songs for
Davis County schools.
Packer, Jaron
Jaron Packer is an instrumental music
teacher in the Idaho Westside School
District. He was married to the love of
his life, Vanesa, last December. They
are expecting their first baby boy this
October. Music is a passion in his life
that he longs to share with all those
who will listen. His primary instrument
is the cello but he is experienced in
many other instruments, as well as
vocal. He has a great desire to help
others feel the spirit through music.
Ricks, Elizabeth
Sister Elizabeth Ricks is currently a
member of the Primary General Board.
She enjoys writing songs and stories
for children, several of which have
been published in the Friend. Sister
Ricks maintained a private piano studio for several years and has always
loved finding new ways to teach music
to children. She is the mother of five
pianists, four vocalists, two organists, a
September 13, 2008
Presenter Profiles
clarinetist, a violinist, and a harmonica
player. In addition to having five children, Sister Ricks is soon to be a
grandmother.
Semadeni, Heidi
Heidi Semadeni loves music, and loves
the youth! She started singing at Camp
Oakcrest (LDS Girls camp) while attending as a Beehive. She later served
as a camp counselor at the same camp
in 1987, and as Assistant Director in
1988. She has served in various positions in the YW program over the
years, including ward camp director.
Most recently she has had the opportunity to serve the YM in the scouting
program, as Unit Commissioner over
Cubs for 4 ½ years, and is currently
serving as Advancement chairman on
her ward scout committee, and as the
Roundtable Commissioner in her
scouting district. Heidi also enjoys
serving on BSA training staffs, especially Wood Badge, where she’s served
on several staffs. Heidi married Tim
almost 20 years ago! They have five
sons and one daughter. She is excited
to share her enthusiasm for music and
how it can enhance our youth programs!
Skidmore, Kathy
“My life goes on in endless song…”
Since the age of 5—when she fell in
love with the piano—Kathy’s life has
been blessed with music. She has
served in every stake and ward music
calling and recently retired from the
Mormon Tabernacle Choir. Community service has been a priority, as she
has directed programs, musicals, operas and choirs for area schools and the
Davis Arts Council for over 25 years.
She has written and arranged over 100
pieces for choirs and composed music
for 5 musicals. A graduate in music
education from the University of Utah,
she taught choral music in Utah and
California. Currently, she is the musical director of the Skidmore Singers,
“The Other 3 Tenors” and teaches private voice. Kathy serves as the Relief
Society pianist in the Summerhaze
Ward and Stake Cultural Arts Specialist in the Holmes Creek Stake.
Squires, Nancy
Nancy Squires has five children and 10
grandchildren. She plays the violin and
sings. Her music callings include:
Ward Music Chairman for two different wards, Primary Music Director and
Choir Director (also for two different
wards), Stake Musical Director. She
has also served as Primary President,
Relief Society President (twice), Stake
YW President, RS teacher, and YSA
Adult leader. She is a Labor and Delivery Nurse and a Prenatal Nurse Educator and has been for 31 years. She currently works part-time at Intermountain
Medical Center in Salt Lake City. She
is also working on a Master’s Degree
in Nursing Education.
Stephens, Karen
Karen Stephens comes from the Central Valley of California. She and her
husband, Craig, are the parents of
seven children. They have lived in
Kaysville for the last 12 years. She is
the creator and director of “My Kind of
Music” – a choral/musical experience
for ages 3-12. Five years ago, Karen
fulfilled a life-long dream of becoming
a member of the Mormon Tabernacle
Choir. “It’s the greatest thing in the
world!” One of Karen’s greatest joys is
singing with her children and seeing
the love they have for music.
Webb, Merrilee
Merrilee Webb received her Bachelor’s
and Master’s degrees from Brigham
Young University Provo and was
named BYU’s “Most Outstanding Musician” in 1983. Sister Webb taught at
BYU-Hawaii where she served as the
director for the Men’s and Women’s
choirs, taught theory, music education
courses, piano, and voice. She has
taught choral music in both junior and
senior high schools. While teaching at
Bountiful High School, she maintained an average of 700 students in
her choral program. Merrilee currently
directs “We Also Sing!,” a women’s
choir of 360 voices. She served as a
13
Director in Training for the LDS Nauvoo Pageant in the summer of 2007.
Sister Webb has been the president of
Infinity Business Ventures since 1996
and owns a successful recording studio. Merrilee has been touring internationally with The Young Americans as
an Associate Director since 1994. Merrilee has had the opportunity to conduct five General Young Women
choirs and four General Relief Society
Choirs for the Church of Jesus Christ
of Latter Day Saints.
Whatcott, Liz
Liz has been a ward organist for 20
some years. She received organ training from BYU with Parley Belnap and
later took classes and lessons from
Rulon Christiansen. She is a piano
teacher and a mother of six children
who all play various instruments. The
Whatcotts enjoy playing music together as a family. Liz received a music degree from BYU in Piano Pedagogy.
Yurth, Larry
Brother Yurth and his wife, Marsha,
are proud parents of five children, all
boys, except for four girls. Brother
Yurth has no accreditations or certifications in music, but has enjoyed music his entire life, including his short
stint as a charter member of the Mormon Youth Chorus prior to serving as
a missionary in France and Switzerland. He and his wife have terrorized
their children with piano and voice
lessons much of their young lives, and
have the satisfaction of seeing their
children, even after marriage, continue
to love and create music. In the early
years of Church web site creation, he
created the Church Music site, working
closely with members of the Church
Music Committee. He continues to
thrill at the difference the Church Music site is making around the world for
members and nonmembers alike.
September 13, 2008
14
September 13, 2008
Keynote Address
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September 13, 2008
16
September 13, 2008
General
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17
September 13, 2008
Appropriate Music in Sacrament Meeting
Kathy Skidmore
Appropriate Music for Sacrament Meeting “…a prayer unto me”
Kathy Skidmore
Purposes of Music in the Worship Service
• Prepares us for the Sacrament and testifies of Christ
• Unifies the Saints
• Helps us feel the Spirit
• Gives opportunities for Saints to express testimony through music
• Teaches true doctrine through sacred hymns and anthems.
• Gives Saints opportunities to magnify and develop talents
Appropriate Music for Sacrament Meeting
• Words are in harmony with the gospel, sacred and dignified
• Music is sacred in character, “temple worthy”
• Music is performed humbly, simply, prayerfully, in a sacred style
• Opening hymns are a “call to worship” the Lord
• Sacrament hymns are from the designated section in the hymn book
• Closing hymns summarize the theme of the meeting, bear testimony
Ward Music Chairman
• Coordinates all music for Sacrament meeting (subject to bishop’s approval)
• Prayerfully chooses and previews all special numbers, approves hymns
• Provides training for music director, organist, choir director as needed
• Makes sure enough hymn books are available for the congregation
Organist
• Prayerfully chooses reverent preludes that testify of Christ, especially hymns
• Practices hymns with the music director in advance
• Prayerfully selects postludes that compliment the theme of the meeting
Music Director
• Prayerfully chooses hymns and submits to music chairman
• Practices directing hymns with organist choosing appropriate tempos, dynamics
• Memorizes or becomes familiar with the words of hymns, thus having eye contact with the congregation
Choir Director
• Prayerfully selects music appropriate to ability of choir, purpose of meeting and submits to music
chairman for approval
• Rehearses music with accompanist, learning all parts and words and determines tempos, dynamics, etc.
before the choir rehearsal
Choir Accompanist
• Prayerfully practices and thoroughly learns music with feeling, spirit
• Practices with choir director for tempos, expression
18
September 13, 2008
MUSIC IN THE CHURCH
Many prophets and apostles have extolled the virtues of sacred music and its importance to proper
worship. President Brigham Young said: “We cannot preach the gospel without music.” President Harold
B. Lee stated that “the most effective preaching of the Gospel is when it is accompanied by beautiful and
appropriate music.”
Since beauty is often in the eye of the beholder, someone has to define what is appropriate and sacred. The leaders of the Church have done so, and these standards are to be followed in worship services,
especially sacrament meetings. For example, the Church Handbook of Instructions, on page 289, counsels
that “Music in Church meetings should help members worship, feel the sacred spirit of the Sabbath, and
feel the spirit of revelation. This music should not draw attention to itself or be for demonstration…. The
hymns of the Church are the basic music for all Latter-day Saint meetings and are standard for all congregational singing…. Organs and pianos are the standard instruments used in Church meetings.” [And for all
Church meetings,] “stake presidencies and bishoprics determine whether musical selections or instruments
are suitable for a particular meeting.”
From these instructions we know that in Church meetings (1) music has a sacred purpose; (2)
hymns are the standard; (3) to be accompanied by organ or piano; and (4) priesthood leaders are the judges
of propriety.
Not all music heard in Church meetings is appropriate, so bishoprics and music directors need to
heed the spirit of the instructions. For example, as the handbook notes, “some religiously oriented music in
a popular style is not appropriate for sacrament meetings. Also, much sacred music that is suitable for concerts and recitals is not appropriate for a Latter-day Saint worship service.” Some instruments, those with
“a prominent or less worshipful sound, such as most brass and percussion,” are not to be played in meetings.
Elder Dallin H. Oaks has said: “We should be careful what music we use in settings where we desire to contribute to worship. Many musical numbers good for other wholesome settings are not appropriate
for church meetings. Our hymns have been chosen because they have been proven effective to invite the
Spirit of the Lord…. Soloists should remember that music in our worship services is not for demonstration
but for worship. Vocal or instrumental numbers should be chosen to facilitate worship, not to provide performance opportunity for artists, no matter how accomplished.” (Oct. 1994 General Conference)
President Packer described the wonderful stewardship of musicians in the Church: “Music is of
enormous importance in our worship services. Those who choose, conduct, present, and accompany the
music may influence the spirit of reverence in our meetings more than a speaker does…. Music can set an
atmosphere of worship which invites that spirit of revelation, of testimony.” (Oct. 1991 General Conference) May we all go forward with that in mind.
19
September 13, 2008
Larry Yurth
Using the Church Music Web Site
Discussion and Demonstration
September 13, 2008
I.
Introduction
A.
Music has purposes governed and directed by God through his Servants
B.
http://www.lds.org > Serving in the Church > Music Callings and Resources
II.
Design goals of the Website at http://www.lds.org/churchmusic
A.
Free renditions of music approved for use in Church meetings
1.
Searchable
B.
2.
Printable
3.
Playable
4.
Pre-Recorded
Free instruction
1. How to use the Church Hymn book
2. The appropriate use of music in Church meetings
3. How to direct and teach music in Church meetings
4. Meaning of notation used in the music depicted on the site
C.
And a few other intangibles:
1. Easy to use
2. Easy to understand
3. Fun
III.
Web site’s general design
A.
Music
1. Interactive Music Player
2. Hymns
3. Childrens Songbook
4. Other Music
5. Downloadable MP3s (Hymns and Childrens Songs)
6. Advanced Search
20
September 13, 2008
B.
Larry Yurth
Resources
1. Guidelines to using music in
a. Church meetings
b. Our personal lives
c. At home
2. How to Use the Hymnbook
a. Elements of the Hymnbook
b. Hymns for Congregations
c. Hymns for choirs and Special Groups
d. For Beginning Music Directors
e. For Beginning Organists and Pianists
3. Music materials available for purchase in the Online Distribution Center
4. Music materials for members with disabilities available for purchase in the
Online Distribution Center
5. Quotations and scriptures that emphasize the importance and power of appropriate music.
C.
Learning Materials
1. Interactive Conducting Course
2. Conducting Course Book and Audio Tapes
3. For Beginning Music Directors
4. How to Conduct Children’s Music
D.
IV.
First Opportunity for Feedback and Questions
Detailed Walkthrough
A.
Home Page
B.
Learning Materials
C.
Resources
D.
Music
E.
Feedback and Questions
21
September 13, 2008
W. Herbert Klopfer
COME HOME TO THE HYMNS
Elder Thomas S. Monson of the Quorum of the Twelve Apostles organized the Leipzig Germany Stake in 1984, assisted by Elder Hans B. Ringger, a Regional Representative and later a member of the First Quorum of the Seventy.
They interviewed about thirty priesthood holders for stake positions on Saturday afternoon. The brethren were waiting in a nearby room for their turn to be interviewed.
President Monson observed that the brethren in the nearby room sang hymns in beautiful four-part harmony from the
hymnbook. He asked Elder Ringger: “Do these brethren represent a priesthood choir for the meeting this evening?”
“Oh, no,” replied Elder Ringger, “they are just the brethren who we are going to interview this afternoon. They prefer
singing to chatting.” President Monson told us that “they sang for four hours. As we would interview some of the tenor
section, the tenors became a little weak, and then they would return and the bass would come in for the interview. . .”
“We learned a lesson,” President Monson told us later. “If you love the Lord, if you love His doctrine, you’ll love the
hymns; and when you love them, then you sing them. . . . We must learn once again in The Church of Jesus Christ of
Latter-day Saints to really sing. We simply must do something with our congregational singing to bring out the spirit
of music in the heart and soul of every boy, every girl, every man, every woman.” (Hymnbook Celebration, 3 Sep
1985).
The First Presidency teaches us to worship the Lord more effectively by singing the hymns more frequently, using
the words of hymns and children’s songs in support of teaching gospel principles, and feeling the power of hymns
motivating individuals to righteous actions.
Singing the Hymns of Zion More Frequently
The First Presidency hopes “to see an increase of hymn singing in our congregations. We encourage all members,
whether musically inclined or not, to join with us in singing the hymns. . . . Sing them on the Sabbath, in home
evening, during scripture study, at prayer time. Sing as you work, as you play, and as you travel together.” (Preface,
Hymns, 1985).
President James E. Faust taught that “singing our beautiful, worshipful hymns is food for our souls. Worshiping in
song has the effect of spiritually unifying the participants in an attitude of reverence” (April 1992 General
Conference).
Elder Dallin H. Oaks declared: “Hymn singing is a glorious way to worship. . . . Our hymns . . . have been proven
effective to invite the Spirit of the Lord. . . . The singing of hymns is one of the best ways to put ourselves in tune
with the Spirit of the Lord (and) . . . to learn the doctrine of the restored gospel. . . . Our sacred music is a powerful
preparation for prayer and gospel teaching (and) . . . prepares us to be taught the truths of the gospel” (October 1994
General Conference).
Elder Jeffrey R. Holland suggested “we ought to have great music in the Church, and more of it; great speaking in
the Church, and less of it” (Christmas Devotional, 13 Dec 2006).
Hymn singing is the easiest, most enjoyable, most effective, and most powerful spiritual activity inviting “all to
come unto Christ” (D&C 20:59) “and be perfected in Him” (Moroni 10:32). Almost everybody can do it! It is universally appealing and ought to be done more frequently in our worship services. Hymn singing lifts one to higher
spiritual ground.
22
September 13, 2008
W. Herbert Klopfer
Using the Words of Hymns in Support of Teaching Gospel Principles
The First Presidency hopes that “leaders, teachers, and members who are called upon to speak will turn often to the
hymnbook to find sermons presented powerfully and beautifully in verse. . . . Some of the greatest sermons are
preached by the singing of hymns. . . . We hope the hymnbook will take a prominent place among the scriptures and
other religious books in your homes” (ibid).
President Boyd K. Packer declared: “If we will listen, (the hymns) are teaching the gospel, for the hymns of the Restoration are, in fact, a course in doctrine” (October 1991 General Conference).
One of the purposes of hymn singing is to teach the gospel – to help members learn the hymns, ponder their messages, and partake of the spirit they bring.
Feeling the Power of Hymns Motivating Righteous Conduct and Behavior
The First Presidency declared that “hymns can lift our spirits, give us courage, and move us to righteous actions.
They can fill our souls with heavenly thoughts and bring us a spirit of peace. Hymns can also help us withstand the
temptations of the adversary” (ibid).
Hymn singing builds character by dismissing unworthy and evil thoughts, deepening spiritual insights and sensitivity, quieting and lifting our spirits, aiding us in public and private worship, teaching truths and gospel principles,
converting and building testimonies, reminding us of our covenants and heritage, and unifying us as a people.
“Music is of enormous importance in our worship services. . . . Those who choose, conduct, present, and accompany
the music may influence the spirit of reverence in our meetings more than a speaker does. . . . Music can set an atmosphere of worship which invites that spirit of revelation, of testimony.” (President Boyd K. Packer, October 1991
General Conference).
“The Spirit does not ratify speech nor confirm music which lacks spiritual substance.” (President Boyd K. Packer,
October 1991 General Conference).
President Heber J. Grant wrote that “the singing of our sacred hymns, written by the servants of God, has a powerful
effect in converting people to the principles of the Gospel, and in promoting peace and spiritual growth.” (“Songs of
the Heart,” Improvement Era, Sep 1940, p. 522).
President George Albert Smith wrote: “I wonder sometimes if we realize the importance of music. I wonder if we
know that the Lord Himself is concerned about it. He has given us the information that the song of praise is a prayer
unto Him. . . . It is our privilege, yea, our blessing, to sing, and our songs should be sung in righteousness.” (Church
Section, Deseret News. 16 February 1946.)
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September 13, 2008
W. Herbert Klopfer
INTEGRATING MUSIC INTO GOSPEL LEARNING
From the earliest days of the Restoration, Church music has played a role in the spiritual progress of the
Saints. It has soften hearts, kindled faith, inspired obedience, fostered unity, and called down the powers of
heaven. That music was not only a repertoire of sacred texts and melodies, it was a way of using music –
under the direction of priesthood leaders. It was fully integrated with all other aspects of the work of
salvation.
In today’s Church, music is generally thought of by its members and leaders as isolated from all other
programs and auxiliary organizations. However, it ought to be fully integrated into all programs of the
Church because of its inherent power of influencing the lives of its members. Everyone ought to be
actively involved and participate as much as possible in order to experience increased personal spirituality.
Characteristics of Isolated Worship Music
For some priesthood leaders, music, with all its unfamiliar technical requirements, must be administered
differently than everything else. They are receiving and implementing direction, but not always in a way
that accomplishes the purpose of that direction.
When music is treated as a separate goal, musical excellence becomes an end in itself. Leaders and ward
members, all of whom may have the best of intentions, work to improve the quality of music. The finest
musicians are called and depended upon to use their existing talents. When a new member moves into
the ward, the first questions may be “do you sing? and do you play an instrument? This helps leaders
ensure the aesthetic beauty of Church music. When members of the congregation are inspired and
uplifted by music, it is usually “special” music performed by vocal or instrumental soloists rather than
their own singing of a congregational hymn. As a result, members learn to listen passively – not an
uncommon experience in our entertainment-oriented world. Many feel that they don’t sing well enough to
contribute, but they enjoy being impressed with the contributions of others, and the ward is proud of its
reputation for fine music.
When music is isolated, it makes its own demands alongside the other efforts of the ward. In its featured
role, it invariably competes for the time and the attention of both the musicians who perform it, and the
members who are obligated to support it.
Integrated Worship Music Increases Spirituality
For other priesthood leaders, music is integrated into their priesthood work. They treat it as teaching,
learning, leading, fellowshipping, serving, and worshipping – the kinds of Church work with which they
are already familiar. Music in the Church ought to be considered a means to a greater end – the spiritual
growth of its members.
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September 13, 2008
W. Herbert Klopfer
When music is integrated, it requires just that amount of effort and attention necessary for it to play its
proper role in overall efforts of the ward. In this respect, it becomes like every other tool the Lord provides
to accomplish His work of salvation.
Characteristics of Integrated Worship Music
When music is integrated into gospel learning, its purpose is to increase spirituality. This understanding
allows music to play an entirely different role in the ward. Music is a tool for members’ personal growth,
for bearing one another’s burden, teaching and testifying, and fellowshipping. Members are called to music-related positions based on their testimony and willingness to learn and grow in service. As they sacrifice and rely on the Lord to help them develop new skills and talents, they grow in service and exercise
faith. They do not use the Church to demonstrate their talents; they use their talents to build up the Church.
Teachers and leaders plan hymns for their classes and meetings. Most of the music, including the choir,
should provide an opportunity for everyone to sing. All members welcome the opportunity to actively
worship through music.
Worthy Worship Music Provides Spiritual Protection
In the April 2007 General Conference, President Boyd K. Packer and Elder Jay E. Jensen taught important
principles of integrating worship music in our sacrament meetings. Application of these principles will
increase spirituality in our lives and help the work of individual salvation.
1. Sacred music is a source of assurance and courage.
2. Music is a means of divine inspiration and revelation.
3. Music helps to feel the still, small voice.
4. Reverence in music is important.
5. Hymns invite the Spirit.
6. Hymns facilitate conversion.
7. There is a proper role of musical excellence.
8. There is a proper use of worthy music outside of worship services.
9. Seeking after the praise of men in musical matters is perilous.
10. Parents should teach children the hymns at home.
11. Improve worship through the hymns.
12. Choose appropriate hymns in worship services.
13. Be more punctual to meetings and listen quietly to prelude music.
14. Exit meetings more reverently during the postlude music.
15. Participate in singing the hymns as congregations and in choirs.
16. Use hymns to emphasize gospel principles in lessons and classes.
17. Eliminate inappropriate music from our lives.
When worship music is integrated into gospel learning, it will provide increased personal spiritual progression. It will provide spiritual protection from temptations!
The Lord has commanded worthy music to be used in His worship services, such as sacrament meetings
and conferences: “. . . make a selection of sacred hymns . . . to be had in my Church. For my soul delighteth in the song of the heart; yea, the song of the righteous is a prayer unto me, and it shall be answered
with a blessing upon their heads” (D&C 25:11-12).
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September 13, 2008
W. Herbert Klopfer
APPROPRIATE ORGAN PRELUDE MUSIC
Quiet organ prelude music may well be the most important part of any worship service. Elder Lance B.
Wickman counseled that “the very best ten minutes of any worship service – sacrament meeting or conference – are the ten minutes before it begins! As we arrive early, quietly take our seats and then listen worshipfully to the organ prelude – a prelude, my dear organist friends, comprised of the hymns of Zion! – we
are sending heavenward our prayers – just as we do when we sing them with fervor. Such acts speak volumes to a Heavenly Father who is watching and listening.” (Texas Satellite Stake Conference broadcast, 5
June 2005).
Purpose of Prelude Music in Church Meetings
“The purpose of prelude music in Church meetings is to create an atmosphere and spirit of worship. . . . Prelude music is not intended as entertainment, but as background for quiet contemplation” (Handbook for
Church Music, 1975, p. 16). “Quiet prelude and postlude music creates an atmosphere of worship that invites
the Spirit into Church meetings. The organist or pianist usually plays hymns or other appropriate music for
five to ten minutes before and after a meeting. Playing hymns helps members review gospel teachings in their
minds” (Church Handbook of Instructions – Music, 1998, p. 289). Quiet prelude music “invites the spirit of
revelation and testimony into Church meetings” (Church Music Handbook, 1993, page 3).
“Music in our worship services is not for demonstration but for worship” (Elder Dallin H. Oaks, October
1994 General Conference)
“Ten minutes of prelude music is an amazing magnet to draw in the Spirit. . . . Those quiet moments of
prelude reverence and contemplation can also be moments of revelation.” (Elder Robert C. Oaks, Washington State Stake Conference broadcast, October 2005).
“The prelude is a call to worship, an invitation to approach our Father in Heaven and to commune with
Him through the Holy Spirit. The prelude should create an atmosphere in which communication with the
Lord can readily take place, clearing the mind of worldly thoughts and inviting spiritual contemplation. It
aids worship and is a background for quiet meditation.” (Guidebook for Organists, 1969, page 6)
Elder Russell M. Nelson counseled priesthood leaders and others invited to participate in sacrament meeting to “be seated at least five minutes before the meeting begins so you can be spiritually prepared for a
worshipful experience. During that quiet interval, prelude music is subdued. This is not a time for conversation or transmission of messages.” (Worldwide Leadership Training Meeting, 21 June 2003.)
The importance of appropriate organ prelude music was stressed in the satellite Northern Mexico Stake
Conference broadcast in January 2008 by President Boyd K. Packer: “We began this meeting with an organ prelude. As soon as the music had started, the Spirit of the Lord flooded into my body, and I knew we
had begun a conference.” President Packer taught the unseen congregation that the flow of the Spirit has
not been disrupted by distance.
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September 13, 2008
W. Herbert Klopfer
Hymns as Prelude Music
“An organist who has the sensitivity to quietly play prelude music from the hymnbook tempers our feelings
and causes us to go over in our minds the lyrics which teach the peaceable things of the
kingdom.” (President Boyd K. Packer, October 1991 General Conference.)
“A hymnbook’s hymn is often the most inspiring and appropriate selection. . . . Our hymns have been chosen because they have been proven effective to invite the Spirit of the Lord. . . . Our sacred music prepares
us to be taught the truths of the gospel. . . . Sacred music has a unique capacity to communicate our feelings of love for the Lord.” (Elder Dallin H. Oaks, October 1994 General Conference.)
By playing hymns, we will “draw ever closer to Him who has inspired sacred music and commanded that it
be used to worship Him. . . . We should use hymns when we need spiritual strength and inspiration.” (Elder
Dallin H. Oaks, October 1994 General Conference.)
Appropriate Prelude Music
Appropriate prelude and postlude music may include much inspiring and wholesome music, but the most
effective and appropriate worship music consists of hymns and sacred children’s songs. “Generally
speaking, our musicians play prelude music that is really secular or is Protestant. It is marvelous what will
happen if they play the familiar hymns. . . . Powerful music and the Spirit will be invited into a meeting by
the hymns of the Restoration.” (President Boyd K. Packer, General Authority Training Meeting, 3 April
1993.)
In that same General Authority Training Meeting, Elder Stephen D. Nadauld taught that “a hymn of the
Restoration . . . creates a spiritual climate, and . . . teaches the doctrine. Secular music, much of it wonderful music, much of it inspiring music, is not as powerful in bringing the Spirit of the Lord and in teaching
the doctrine.”
Elder Dallin H. Oaks expressed a personal concern “over observing an increasing intrusion into our worship services of music that is of a more popular nature. . . . (Those selections) really do not teach correct
doctrine, but are misleading.”
Power and Protection Provided by Worthy Music
“Music has power to provide spiritual nourishment. It has healing power. It has power to facilitate worship;
it allows us to contemplate the Atonement and the Restoration of the gospel with its saving principles and
exalting ordinances. Music provides power for us to express prayerful thoughts and bear testimony of sacred truths. . . . Worthy music not only has power, but it can also provide protection. . . . Worthy music can
provide power and protection for your soul.” (Elder Russell M. Nelson, CES Fireside, 4 May 2008).
“Worthy music is powerful. It has power to make us humble, prayerful, and grateful. . . . Worthy music
also has the power to persuade. . . . Music has a sweet power to promote unity and love in the family.” (Elder Russell M. Nelson, CES Fireside, 4 May 2008.)
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September 13, 2008
Participating In Congregational Singing
W. Herbert Klopfer
PARTICIPATING IN CONGREGATIONAL SINGING
We believe in worthy music! One of the guiding scriptural injunctions for worthy music is found in the last phrase of
the 13th Article of Faith: “If there is anything virtuous, lovely, or of good report or praiseworthy, we seek after these
things.” Worthy music edifies, enlightens, and provides us with a measure of improved spirituality and protection.
Music in worship services contains elements of worthy music in a more concentrated form. It should be more reverent, worshipful, and appropriate. President Boyd K. Packer has counseled: “The Spirit does not ratify speech nor
confirm music which lacks spiritual substance.” (October 1991 General Conference).
The Nourishing Power of Hymns
A hymn is the Lord’s preferred style of music. He wants hymns to be sung in His worship services – in sacrament
meetings and conferences. The Lord, through the Prophet Joseph Smith, instructed Joseph’s wife. Emma, to “make a
selection of sacred hymns . . . to be had in my Church. For my soul delighteth in the song of the heart; yea, the song
of the righteous is a prayer unto me, and it shall be answered with a blessing upon their heads” (D&C 25:11-12).
The First Presidency counsels Church members everywhere to sing the hymns of Zion frequently. Hymns are “an
essential part of our church meetings. (They) invite the Spirit of the Lord.” (Preface, Hymns, 1985).
The singing of hymns invites the Spirit, invites revelation, and invites conversion. “Hymns play an essential role in
spirituality, revelation, and conversion. . . . The hymns of the Restoration carry with them the spirit of conversion.
They came as a result of sacrifice. . . . (They) reinforce the great truths of the Restoration – such as the divinity of the
Father and the Son, the plan of redemption, revelation, latter-day scriptures, the gathering of Israel, the holy priesthood, and ordinances and covenants.” (Elder Jay E. Jensen, April 2007 General Conference).
The First Presidency hopes “to see an increase of hymn singing in our congregations. We encourage all members,
whether musically inclined or not, to join with us in singing the hymns. . . Sing them on the Sabbath, in home evening, during scripture study, at prayer time. Sing as you work, as you play, and as you travel together.” (Preface,
Hymns, 1985).
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September 13, 2008
The Prophets Speak on Music
W. Herbert Klopfer
President James E. Faust: “Singing our beautiful, worshipful hymns is food for our souls. Worshiping in
song has the effect of spiritually unifying the participants in an attitude of reverence.” (April 1992 General
Conference).
President Boyd K. Packer: We “encourage participation in congregational singing.” (October 1991 General
Conference).
Elder Dallin H. Oaks: “When a congregation worships through singing, all present should participate. . . .
Many have difficulty expressing worshipful feelings in words, but all can join in communicating such feelings through the inspired words of our hymns. . . . As we sing we should think about the messages of the
words. Our hymns contain matchless doctrinal sermons.
“Hymn singing is a glorious way to worship. . . . Our hymns . . . have been proven effective to invite the
Spirit of the Lord. . . . The singing of hymns is one of the best ways to put ourselves in tune with the Spirit
of the Lord. . . . The singing of hymns is one of the best ways to learn the doctrine of the restored gospel. . .
. Our sacred music is a powerful preparation for prayer and gospel teaching. . . . Our sacred music prepares
us to be taught the truths of the gospel. “Some of us in North America are getting neglectful in our worship, including the singing of hymns.” (October 1994 General Conference).
Elder Jay E. Jensen: “Music in Church meetings and classes should facilitate a spirit of worship, revelation,
and testimony.” (April 2007 General Conference).
Elder Russell M. Nelson: “Through music we raise our voices in powerful praise and prayer. (Singing) a
hymn provides a pattern of worship that is pleasing to God (see D&C 136:28).” (CES Fireside, 4 May
2008).
Elder Jeffrey R. Holland: “We ought to have great music in the Church and more of it; great speaking in
the Church and less of it.” (Priesthood Department, 2006 Christmas Devotional).
Elder Adam S. Bennion: “In the Church we need better music and more of it, and better speaking and less
of it.” (Said somewhere in the 1950s).
President J. Reuben Clark, Jr: “We can get nearer to the Lord through music than perhaps through any
other thing except prayer.” (October 1936 General Conference).
President Brigham Young: “We cannot preach the gospel without music.”
President Harold B. Lee: “The most effective preaching of the gospel is when it is accompanied by beautiful and appropriate music.” (April 1973 General Conference).
President Gordon B. Hinckley: “The singing of hymns and the rendition of selections from the great oratorios by ward choirs all enhance the spirit of worship.” (April 1987 General Conference).
President Joseph Smith: “Man himself is a musical instrument.” (Paraphrase).
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September 13, 2008
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September 13, 2008
Choral
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September 13, 2008
Adult Beginning Choral Conducting
Faith Cooper
Beginning Choral Conducting
Overcoming the FEAR FACTOR
Preparation, Preparation, Preparation,
The key to overcoming fear and becoming the best director you can be!
Choose the right music.
Understand the message.
Go through the music and mark any difficult passages.
Learn the melody.
Practice leading through the whole piece.
Plan with the accompanist.
The Rehearsal
Warm up on an easy hymn
Introduce more difficult pieces.
Rehearse difficult sections being careful not to stop too much.
Encourage your members for their efforts.
ALWAYS end on a beautiful note, a song they love!
Tips for Success
Your posture will set the tone for the performance of the singers.
Teach breath support and a relaxed throat, no pushing up to those high notes.
A choir must blend, no voice should stick out!
The secret I promised, vowels! The placement and sound of vowels will do more to make your choir sound
beautiful than any other consideration!
The Performance
This is where you must shine, literally! The practice is over and its time to get our ego out of the way and let
the sprit come. Feel the message. Bear your testimony through the dance we call conducting. The Lord loves
music and will reward our efforts with the spirit if we are humble. Truly the song of the righteous is a prayer
unto the Lord and will be answered with a blessing on our heads!
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September 13, 2008
Choir Rehearsal Techniques
Jean Applonie
Ward choir—Preparing to Rehearse & Rehearsal Technique
Choir director’ responsibilities:
choose music (consider: purpose, singers’ skills, accompanist’s skills,
conductor’s skills)
Prepare to rehearse
Rehearse
Perform
I. Prepare to Rehearse
Analyze Score: rhythm, melody, harmony, form, texture, text
Play, Sing, Listen: accompaniment, voice parts, recording
Identify Rehearsal Issues: rhythm, pitch/harmony, tone/vowel
Musicality (Ex: dynamics, phrasing, blend, balance, articulation)
Create Rehearsal Strategies: to address above issues
Mark Your Score for Conducting
Practice Conducting
II. Rehearsal Technique
Establish a Routine
Breathe/Stretch/Mental Focus
Vocal Technique
Literacy
Repertoire
Strategize for Identified Issues: “Nearer My God to Thee”
REHEARSAL ISSUE
REHEARSAL STRATEGY
Discover Form……………..Observe repetition/contrast while accompanist plays.
Compare lines.
Learn Parts………………...Sing unison melody in solfa; stack B, BT, BTA, BTAS
On vs. 4; repeat with variation—sing SATB vs. 4, sing uni + SATB vs. 12, sing TASB vs. 5
Beautiful Vowels…………..Use diphthongs in Tech—I, fly, my, sky, bright, out,
down. Specify pronunciation of “nearer,” “shall,” and “all.”
Tune Line 3………………..Sing repeated notes and neighbor tones in tune; try
one vowel; try with words
Legato……………………...Specify breath marks; sing full value of half and
quarter notes; airflow and energy to end of phrase
Dynamics…………………..Vs. 1-2—mp, mf. Vs. 4—mf, f. Vs 5—f
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September 13, 2008
Choir Rehearsal Techniques
Jean Applonie
III. Short List of Strategies for Ward Choirs
Simplify: one element (rhythm, melody, harmony, text); one section; stacking up BATS
Repeat: with variation (add a part, a cappella, softer/louder, add
Accent or stress, more legato/staccato)
Overlap: use repertoire for tech, address choral issue in tech, use
Repertoire for literacy
Divide and Conquer: use sectionals to teach 4 parts at once
Coach during singing: comment, guide, prepare singers while
they’re singing
Pace: try a ratio of 1:10 for talking to singing; rehearsal will fly; you will
Provide the repetition necessary for learning consistency; also vary the pace of rehearsal
by alternating fast and slow pieces
Listen: encourage singer to listen to others in order to tune and blend;
Conductor must listen to evaluate success and prescribe next step; listen to recordings;
rearrange singers to give their ears a different perspective
Refine Vowels: your quickest route to beautiful tone and choral blend
(Surely, conscientiously shaped vowels inside and out)
Involve Text: choose a quality text; your quickest route to expressive singing
(Discuss: meaning of text, favorite phrase; inflection of text and its match or non-match to
musical accents, text climax vs. musical
climax, or do climaxes match)
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September 13, 2008
Jean Applonie
I. STYLE
Posture: exemplary, buoyant, alert
Hand/Arm Position: palm down, elbow out and forward
Downward ictus
Parts of gesture: descent, ictus (beat changes direction), rebound
Conducting Plane: waist—chest level
Style of gesture: Weight (heavy to light) and flow (smooth to detached)
staccato
animato
legato
pesante
Melded gesture (dead beat)
Conducting Zone
Vertical/Angular: staccato, animato
Horizontal/Rounded: legato, pesante
II. CUEING
Prep Beat: shows tempo (speed), dynamic (volume), style (artic.)
Hand gesture/eye contact/say “soprano”
Practice: 28, 252, 82, 124, 187
Cut-offs, Combined Cut-offs and Cues
Suspend at top of descent; accelerate into ictus (slower at top; faster at bottom)
Practice: 187, 82
Stop technique
Stop at ictus; release hand upwards rebound (release=breath)
Practice: 227 last line, 220, 62
Fermata/Tenuto
Stop and hold at ictus; cut-off by retracing previous beat or continue in the beat pattern with the rebound and next beat
Tenuto: Stops at ictus and immediately draws rebound up to prep the cut-off
Practice: 68, 187, 27
Click Beat (syncopated beat)
Same gesture as cut-off with more suspension and accel. So that singer reaction is
after the beat
Practice: 97, 89
Fractional Beat Entrance
One full (dead) beat (straight up of half circle); click on beat
pevious to entrance
Practice: 226, 86
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September 13, 2008
Jean Applonie
III. CHANGES
Duel roles—RH, LH—Dynamics/sustained singing
1. LH=hold; RH=beat pattern (optional double cut-off)
2. Dynamics; LH—in/out, forward/back, palm up/down
Practice: 204 No Breath, 144 cueing
Tempo: Rit., Accel.
Subdividing beat: up/down, down/down
Practice:
Multi-Meter: prepare yourself for rebound changes
Assymetrical Meter: reduce to beat grouping of 2’s and 3’s
example: 5/8=3+2 or 2+3; 7/8=2+2+3 or 3+2+2
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September 13, 2008
Vocal
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September 13, 2008
1.
Lindsay Hickman
Relaxation
If your body is tight, your voice will be tight
2. Breathing
Appoggio = to lean; a state of balance
“Sing in the position of breathing; breath in the position of singing.” (Miller)
Sternum should be high; shoulders back and relaxed, but never slumped.
No pushing out or pulling in of the stomach
Think of a natural expansion all the way around the middle
Silent breaths are the key to good breathing
Breathing Exercises
Lean over like a “rag doll” bending at the waist - feel breathe expand around middle of body.
Think of “letting” breath in instead of taking in or grabbing the breath
Don’t think of holding the breath after inhalation - think of suspending, spinning or floating the
breath to avoid unnecessary tension
Onset
The way you “start” your sound
Connection between body, breath and singing
Laughing/coughing - completely natural body response
3. Some important points to remember:
Correct singing is natural singing
If is doesn’t feel right, then it probably isn’t right!
Every voice is different, just like instruments in an orchestra
4. Resonance
Think of the Tabernacle - the shape of the ceiling - how the sound echoes
Soft palate is your vaulted ceiling - your echo space!
Breathe in as if you are about to sneeze or yawn
Smile!
5. Learning a song
Practice melody on a syllable first
Mark in breaths - breaths are part of the memorization process
British Diction - practice speaking words without music
Phrasing - give the song meaning - “lean” into important words
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September 13, 2008
Martha Gutierrez
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September 13, 2008
Martha Gutierrez
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September 13, 2008
Martha Gutierrez
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September 13, 2008
Martha Gutierrez
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September 13, 2008
Organ
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September 13, 2008
Dan Harrison
Organ Registration
Prepared by Dr. Daniel C. Harrison
Choosing the stops is one of the biggest challenges in learning to play the organ. Individual circumstances,
whether for hymns or for preludes and solos, require special choices to make the music beautiful and to
help a congregation sing. It is very important that the organist becomes very familiar with every individual
stop for each manual and for the pedals. These stops fall into 4 different “Families” (Similar to the instruments of an orchestra.)
1.
2.
3.
4.
“Diapason” (or “Organ Sound”) Sometimes called “Principal” or “Fundamental” or “Octave”.
“Flutes” such as “Gedeckt”, “Block Flöte”, “Rohr Flöte”, “Kopple Flöte”, etc.
“Strings” such as “Gamba”, “Violina”, “Salicional”, etc.
“Reeds” such as Trumpet, (“Trompette”) Oboe, “Vox Humana”, “Bassoon” or “Pousson”,
Clarinet, “Krummhorn”, etc.
Other categories include:
Mixtures (Pre-set combinations prepared by the organ builders)
Mutations (stops with fractions)
Registration for Hymns
The first two families sound very good together for hymn-playing and should probably be used for every
hymn – large and powerful, or small and tender. These combinations may be distributed throughout the
Great, Swell, and Pedals if you couple them. Coupling is recommended. Examples:
Large and powerful hymns
Diapason 8’, 4’, 2’
Flute 8’, 4’, (perhaps a 2’, and possibly a 22/3)
Strings 8’ (if available)
Mixture
Small and tender hymns
Diapason 8’, 4’
Flute 8’, 4’, (perhaps a 2’, but use sparingly)
Perhaps a Celeste 8’ if appropriate
Some Rules to Follow
1.
2.
3.
4.
Never use Tremolo or Vibrato with hymns.
Celeste may occasionally be used for small and tender hymns.
Reeds may be used occasionally for large and powerful hymns, but very sparingly.
16’ stops are appropriate only for the pedals.
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September 13, 2008
Dan Harrison
Registration for Preludes, Postludes, and Solos
All organs are different and unique to themselves, so the organist must be thoroughly familiar with his/her
organ to choose stops which are effective and appropriate to the style of music.
It is always appropriate to use hymns for your preludes, but you may use other appropriate music.
In general, music for preludes must be soft, reflective, and reverent. A prelude is a type of “background
music”, designed for quiet and reverent meditation before the service begins. For that reason, the best stops
include flutes and strings. This applies also to postludes.
It’s a good idea to have two or three different registrations ready so you can change the sound and color for
each section or verse of your prelude. If you choose to play with both hands on one manual, you may want
to have a different combination of stops for each manual. For example:
Great – Flute 8’ and 4’
Swell – String 8’ or softer Flute 8’ (with possible Celeste)
Pedal – Soft Flute 8’ (and perhaps 16’ if it doesn’t overbalance). You may want to use Swell to
Great.
You may choose to highlight the melody with a more “characteristic” stop or combination of stops on one
manual while providing the accompaniment with a softer stop or combination of stops on another manual.
For example:
Great – Flute 8’ and 2’ (or 22/3), and possibly with tremolo or vibrato.
Another very effective combination might be a soft 16’ with a soft 22/3.
If your organ has a soft reed (i.e. Clarinet, Krummhorn, Oboe, Vox Humana), you may want
to use that for the solo.
Swell – String 8’ or soft Flute 8’ (Celeste may be used if there is no tremolo or vibrato on the solo)
Pedal – Soft Flute 8’ (and perhaps 16’ if it does not overbalance). You may want to use Swell to
Great.
Each of the above combination of stops may be reversed from manual to manual (i.e. play the solo on the
Great and the accompaniment of the Swell.)
If you are using an arranged version of a hymn, the solo will probably be written on one staff with the accompaniment written on another staff. But it is possible to create your own solo “arrangement” of a hymn
by simply playing the soprano part alone on one manual and the other parts on another manual and pedals.
If you a proficient with the pedals, you may even wish to play the melody with the feet and accompany on
one of the manuals!
45
September 13, 2008
Dan Harrison
INTRODUCTION TO THE PIPE ORGAN
--Prepared by Dr. D. Harrison, DMA
I. History of the Organ
A. There is no record of when the organ was invented, but dated back to the ancient Greeks
B. A remnant of an ancient Greek organ was found that had a water wheel which, when water activated the wheel
caused a column of air to pass through a pipe thus making a sound.
C. This ancient organ was called a “Hydraulis”
D. Later, in the Medieval Era, the organ was made portable (without the water wheel), and used on the battle field to
spur the soldiers to fierce fighting.
E. This portable organ was called by many names: “Regal”, “Positiv”, “Portative”
F. The organ was not introduced to sacred music and built in churches until the Renaissance Era .
G. Virtuoso organ playing began in the Baroque Era
H. Some great early organists include Schlick, Scheid, Landini (who was blind), and the great Frescobaldi
I. Later in the Baroque Era, many German musicians became known as organists first, then as composers:
(Such as Buxtehude, Pachelbel, Telemann, and J.S. Bach)
J. In the Classic Era, compositions for the organ virtually discontinued, and although Mozart, Haydn and Beethoven
had established themselves as concert organists, they seldom wrote music for it.
K. In the Romantic Era, the French brought the organ back. Composers such as Mendelssohn, Liszt,
St. Saens, Franck, Bruckner, and others were organists and wrote for the organ.
L. During the Romantic Era, there were many great organists who wrote for the organ, but are seldom known in the
mainstream of music composition: Vierne, Durufle, Dupre, Widor, Boellmann, and others.
M. There have been and are many great organists in the 20th and 21st Centuries who have established themselves as
composers as well: Messiaen, Peeters, Sowerby, Pinkham, and others.
II. How are sounds made on the organ?
A. Air through a pipe which has a whole near the bottom -- very similar to a flute
B. A “Rank” is a row of pipes, each of different sizes, but with a similar shape and timbre
1. The St. George Tabernacle organ has 13 ranks with approximately 700 pipes
2. The Tabernacle Organ in SLC has 206 ranks (18 of which were added in 1988)
The Tab Organ is now one of 12 largest organs in the world — 11,623 pipes
3. The newer organ in the SLC Assembly Hall has 65 ranks
4. The organ in the new Conference Center in SLC has 130 ranks — 7,667 pipes
5. The Crystal Cathedral Organ in LA has 300 + ranks
6. The great “Wannamaker” Organ in New York has 400 + ranks
7. The largest organ in the world is in Atlantic City —“The organ at Atlantic City Convention Hall has 33,112
pipes in 455 ranks. The organ is powered by blowers that approach 1,000 horsepower! The console, located
on the stage of the 41,000-seat auditorium, has 7 manuals, 1,255 speaking stops, and hundreds of additional
controls.”
III. Organ “Registration” or Choice of sounds
A. Organists are somewhat like composers who write for orchestra: They must choose which sounds will sound appropriate for which style, and often change the sounds as they play a given piece.
1. Sounds are chosen by means of “Stops” which have names such as “Diapason”, “Flute”, “Trumpet”, etc.
Combinations of these creates fullness, variety, and color.
2. Larger organs have “Presets” or “Pistons” which can be pre-programmed to include combinations of stops.
(This is very convenient for changes within a piece)
B. The “Stops” on an organ fall into 4 different “Families” (Similar to the instruments in the orchestra)
1. “Diapason” (or “Organ Sound”) (These are sometimes called “Principal” or “Fundamental”)
2. “Flutes” such as “Gedeckt”, “Block Flöte”, “Rohr Flöte, “Kopple Flöte”, etc.
3. “Strings” such as “Gamba”, “Violina”, “Salicional”, etc.
46
September 13, 2008
Dan Harrison
4. “Reeds” such Trumpet, Oboe, “Vox Humana” “Pousson” Clarinet, “Krummhorn”, etc.
C. Other stops include “Mixtures” (a pre-programmed group of ranks within one stop), and “Mutations” (play different
pitches from the note played)—chosen from the Overtone Series.
D. Most stops have a number representing the octave in which that rank of pipes sounds
1. “8" means that Middle C will sound like itself.
2. “4" means an octave higher
3. “2" means two octaves higher
4. “1" means three octaves higher
5. “16" means one octave lower
6. Mutations usually have a fraction on them to indicate that they play a different pitch
7. Mixtures are preset combinations of stops which cannot be altered (usually very high)
IV. The Console -- Keyboards and Expression Pedals
A. The Standard Keyboard of the Organ is the “Great” (the lower manual on 2-manual organs)
B. The upper manual is known as “Swell” and is specifically for solos — bright reeds as well as
softer stops
C. If there is a third manual, it’s below the “Great” and is known as “Choir” — also softer
D. The Pedal Keyboard is for the feet, and includes some of the same notes as the manuals, but lower
E. Expression Pedals include one for the Great Organ, and one for the Swell Organ
(the Pedals are included in the Great expression pedal, but sometimes in both)
F. There is often a “Crescendo” pedal which automatically adds stops as it is depressed until the full capacity of the
organ is reached. (Try to avoid using this if you don’t know how it works.)
V. Can any pianist play an organ?
(Usually “No!”)
A. The touch of the organ is different from the piano. (Shall I repeat that?)
B. Basic touch is “Legato”
C. “Staccato” is very obvious and needed to identify phrases
D. “Glissando”, Crossings, “Holding
E. Learning how to change “registrations” An organist’s job, in addition to just playing the notes, includes learning how
each rank sounds, and which ranks would sound well together for special effects. This often requires the help of an
assistant who will sit at the console and play while the organist goes out into the hall to hear the sounds he/she has
chosen.
F. The Organ is sometimes called “The King of Instruments” because so many varied sounds are possible. Additionally,
the acoustic organ is capable of more gradations of volume than any other instrument, playing louder than any one
or most in combination, and softer than any other instrument alone or in combination. Electric organs and synthesizers can provide even more sounds because of the computerized possibilities built into them, but no electronic instrument can ever sound exactly the same as an acoustic instrument.
47
September 13, 2008
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September 13, 2008
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September 13, 2008
Lois Matthews
Accompanying – A Collaborative Art
Accompanying
Primary
Be prepared for anything!
Communicate with music leader
Communicate with Counselor over music
Get songs ahead of time
Make sure you can see the music leader
Know how many verses / same music
Practice—regardless of your sight-reading skills
Keep going!
Relief Society/Priesthood
Communicate with the music director
Communicate with Counselor over music
Get songs ahead of time
Make sure you can see music director
Practice
Be Prepared
Keep going!
Sacrament Meeting
Study your organ manual (the book of instructions)
Know your organ stops – the different instruments / volume
Don’t change the factory pre-sets
Dress appropriately (slippery skirts can be a problem)
Arrive early – check pre-sets, volume, acoustics
Keep music director in your sight
Watch for cues – be ready to change tempo when directed
Follow when strong leader / Be ready to lead or push
Give strong background support
Be prepared for anything – Know where your pitch changer is
Keep going – melody most important
Special Musical Numbers/Choir
Complement – don’t play underneath the soloist or ensemble
Take tempo from the first breath
Know the words – the message of the music
Contribute Sonority – Sometimes float, sometimes shine
*Add: texture, color, interest, counterpoint, secondary melodies, different
rhythm, layers
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September 13, 2008
Feeling the Power When Playing Instrumental Music
Jaron Packer
Feeling the Spirit Through Instrumental Music
Why is music so powerful?
-For good or for bad. ________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
“Through music, man’s ability to express himself extends beyond the limits of the spoken language in both
subtlety and power. Music can be used to exalt and inspire or to carry messages of degradation and destruction. It is
therefore important that as Latter-day Saints we at all times apply the principle of the gospel and seek the guidance
of the Spirit in selecting the music with which we surround ourselves.” (Elder Boyd k. Packer, “Inspiring MusicWorthy Thoughts,” Ensign, Jan. 1974.)
“Our hymns can work their miraculous effect even when the chorus of voices is few and even when hardly a
sound can be heard. I felt this a few months ago as I participated in a musical performance that was unique in my
church experience. I had been invited to speak at the Great Basin LDS Deaf Conference, hosted by the Salt Lake
Valley (Deaf) Ward of the Salt Lake Park Stake. Over three hundred deaf brothers and sisters were in attendance.
The members of the stake presidency and I were almost the only adults in the congregation who could hear and who
attempted to sing audibly. The rest of that large assembly sang with their hands. Hardly a lip moved, and hardly a
sound was heard except the organ and four faint voices from the stand. In the audience, all hands moved in unison
with the leader as the audience signed “The Spirit of God like a fire is burning!” As we sang together, the Spirit of
the Lord descended upon us, and we were made ready for prayer. Our sacred music is a powerful preparation for
prayer and gospel teaching.” (Elder Dallin H. Oaks, “Worship through Music,” Ensign, Nov. 1994.)
________________________________________________________________________
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Vocal Music_______________________________________________________
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Instrumental Music
-What things bring the spirit into a musical number where lyrics are not present?
________________________________________________________________________
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-Intonation and preparation: (Musical aspects)
Intonation is essential! If you’re playing out of tune, it can be distracting from the
spirit.__________________________________________________________
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Preparation________________________________________________________
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-Other important aspects of Musicality:__________________________________
________________________________________________________________________
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-Spiritual Intonation and preparation:
Intonation is essential! If you’re life is out of tune, it is rather distracting from the
spirit._____________________________________________________________
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51
September 13, 2008
Feeling the Power When Playing Instrumental Music
Jaron Packer
Are you living your life in a way that the spirit may dwell in you?_____________
________________________________________________________________________
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Music we listen to: How can we be listening to certain types of music in our lives, and still expect to
feel the spirit when we play for Him?_____________________
________________________________________________________________________
Preparing the musical number __________________________________________
________________________________________________________________________
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-Choosing the musical number. ________________________________________
________________________________________________________________________
“We should be careful what music we use in settings where we desire to contribute to worship. (such as sacrament meeting) Many musical numbers good for other wholesome settings are not appropriate for Church meetings.
Our hymns have been chosen because they have been proven effective to invite the Spirit of the Lord. [My] daughter
(Jenny Oaks Baker) who plays the violin described that reality. “I love to play classical music,” she said, “but when I
play our hymns, I can just feel the Spirit of the Lord in my practice room.”… Our sacred music prepares us to be
taught the truths of the gospel. This is why we are selective in the kinds of music and the kinds of instruments we use
in our worship services. This is why we encourage our choirs to us the hymnbook as their basic resource. We can
make selective use of other music that is in harmony with the spirit of our hymns, such as Charles Gounod’s marvelous “O Divine Redeemer,” sung at the funeral of President Ezra Taft Benson. But a hymnbook’s hymn is often the
most inspiring and appropriate musical selection for a choir, a vocalist, or an instrumentalist. (Elder Dallin H. Oaks,
“Worship through Music,” Ensign, Nov. 1994.)
________________________________________________________________________
________________________________________________________________________
-Prayer: ___________________________________________________________
________________________________________________________________________
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-What should be included in your prayer? ________________________________
________________________________________________________________________
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-This is not a performance:___________________________________________________
“Soloists should remember that music in our worship services is not for demonstration but for worship. Vocal or instrumental numbers should be chosen to facilitate worship, not to provide performance opportunity for artists, no matter how accomplished.” (Elder Dallin H. Oaks, “Worship through Music,” Ensign, Nov. 1994.)
________________________________________________________________________
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-Who are you playing for? ____________________________________________
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Music and Missionary Work
-In order to fully bring the spirit into the meeting through music, your thoughts, prayers, and all your emotion
must be centered on missionary efforts; that is, to brings souls unto
Christ.____________________________________________
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52
September 13, 2008
Preludes and Postludes, Not Performances
Lois Matthews
Preludes & Postludes
Not a Performance
Unobtrusive but Imperative
Class Handout
Purpose – Invite the Spirit
Contemplative – What is appropriate
Organized – Music in order, modulation between pieces, etc.
Be on time / Begin on time
How and when to end – Communicate!
Effective ways to increase reverence and add to Spirit
Consult with Counselor over music if any concerns or questions on procedure.
Special Occasions
Try to get themes and lesson topics in advance
53
September 13, 2008
The Church’s Keyboard Class
Janet Grant
Music has always been an important part of worship for Latter-day Saints. It inspires and strengthens,
brings beauty and unity, and is a unique way to express feelings about the gospel.
The Keyboard Course kit:
• Keyboard Course Manual and Audiocassette
• Hymns Made Easy (this may be purchased separately and is also available in Spanish)
• Cardboard Keyboard and Music Flashcards
This is all available at the Distribution Center along with an electronic keyboard and a five-line chalk
holder.
The two purposes of the keyboard course are to learn to play the easy hymns and then to teach others to
play the hymns.
1.
2.
3.
4.
5.
6.
Follow the course in order. It has a logical progression.
Try to have all students master the concept and skill before moving on
Have the students follow all the practice instructions.
Use the resources you are given.
Teach concepts from the glossary.
Make arrangements for the students to play. . ..recital, in Primary or Young Women’s, etc.,
near the end of the class or after they have completed the class.
7.
Teach in small groups so you can give individual attention.
8. Allow each student as much practice time as possible on a real keyboard. They can use the
cardboard keyboard only so long. Make it FUN!
9.
Students should use good posture and fingering.
10. Students should practice each hymn or assignment until they can do it without mistakes.
11. Teach them how to play with expression.
12. After a student has mastered a hymn have them play while another student conducts. It’s a
whole new world!
How to set up a class
1.
2.
3.
4.
5.
6.
7.
Send around a sign-up sheet to teens and children as well as adults.
Let them know about the expense for the books (around $19) and have them get the books
before class starts.
Let them know it will take about 12 weeks to complete the course.
Set up a time and place. The church is good but be sure and get a key for the weeks you are
teaching.
Arrange for some keyboards or have each student find their own to bring.
You will need powerstrips and extention cords.
Call students who don’t attend each week and encourage them to keep coming. Give them
incentives for practicing. Have a recital/party at the end of the class!
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September 13, 2008
Primary
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September 13, 2008
2009 Primary Sacrament
Elizabeth Ricks
Songs from the 2009 Outline for Sharing Time
“My Eternal Family”
"Of course it is important for the children to memorize the
Primary songs so the words and the music are in their
heads and in their hearts. But it is equally if not more important for them to understand the doctrine taught by the
Primary music. It will be this understanding and testimony
of the doctrine that will bring them comfort and provide
courage in time of need."
—Margaret Lifferth, First Counselor in the Primary
“I Lived In Heaven” (Children’s Songbook, 4)
Listening and responding to the melody line
“The Family Is of God” (Friend, Oct. 2008)
The words come from and lead us to “The Family: A Proclamation to the World”
“How Firm a Foundation” (Hymns, no. 85)
Story of Amanda Smith at Haun’s Mill as told in Our Latter‐day Hymns, by Karen Lynn Davidson (page
115)
Singing for fun and reinforcing words by using a different tune – “Oh, Come, All Ye Faithful”
“My Eternal Family” (2009 Outline, 10–11)
Helping children project the meaning of the song into their own lives
“Baptism” (CS, 100)
Who – Where – When – What – How – Why
“I Want to Be Baptized” (Friend, July 2005)
Feeling the tone of the music – waves
“Seek the Lord Early” (CS, 108)
Proverbs 8:17 – “Those that seek me early shall find me.”
“Families Can Be Together Forever” (CS, 188)
Are second verses important?
Two songs of your choice about Jesus Christ
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September 13, 2008
Karen Stephens
“No Louder Than Lovely”
*Ask them to sing like they were singing with Jesus right there in their presence. Or to sing like they are singing TO
Him.
*I have worked as primary chorister for more years than I can count. One thing that I think we sometimes overlook
is the importance of the Spirit. Using the spirit to teach the song helps the children sing from their hearts. We can try
to teach technique and that has it's merits, but the spirit makes all the difference. I have watched unprepared choristers act silly and as a result they get the children worked up. There is a time for things like rest songs, but when we
teach gospel song, the spirit works miracles.
*I’ve used a listening technique in Primary that makes a real difference in the reverence they can and will exhibit. I
ask them “How quiet do you think it is in the temple?” They get quiet. Then I ask them if they can be even more
quiet, and I wait. We all listen to the silence, and then I tell them, “It’s even quieter than that in the temple.” By then
they are ready to sing with reverent voices, “I Love to See the Temple” or “Families Can Be Together.” It’s a magical moment, when all the noise stops for a few seconds.
*As a middle school choir teacher, I always found that the best tool I had was modeling. Model the wrong way and
the right way.
*Susan’s philosophy is that you let the children hear you sing the music several times, giving them reasons to listen
for certain things. After they’ve heard the song twice you can have them sing certain phrases. It’s a philosophy that
really works because they can sing an entire song in just a few minutes. Susan also believes that you should always
teach a song a’capella. Using the piano too early confuses the children with too much harmony. She adds the piano
only when the song is learned. The kids get excited about it then, too, because it sounds so pretty when it’s all put
together.
Susan also stresses that young children shouldn’t sing difficult songs. She works a lot on pitch matching, using songs
that only have a few notes so the children can match those pitches with ease
I always love the phrase, “Sing no louder than sounds beautiful.” There’s too much yelling when children are asked
to sing loudly. I talk a lot about head voice with children, too, asking them to try to get the music to come out of their
eyes. By singing more softly, they automatically go to a head voice.
At the moment, we’re doing a “Tabernacle Choir Audition” as a summer activity in the Museum of Church History
and Art. We get the children ready for an audition to become honorary members of the choir. We do some vocal exercises to help them to have a “pleasing voice.” Then, using Susan’s philosophy, we give them many reasons to sing
the song while learning music skills. We talk about time signatures, rhythm, crescendo and diminuendo, singing
staccato and using fermatas. It’s cleverly done and the children seem to enjoy it. At the end, we put them on the stage
and they sing to a recording of the choir. But again, it doesn’t really focus too much on beautifying their voices.
*I also think the most important thing is that children learn to love singing, so fun and participation is important. I
also gave kids with more of a desire (maybe not the greatest talent) opportunities to solo or sing in a small group in
Primary programs, most of these kids have developed into lovely little singers.
*Having them sing with a British accent will pretty much cover it. It's quite an amazing trick!
57
September 13, 2008
Karen Stephens
*Children need to learn to sing in their head voice. I also don’t think children should be encouraged to sing “loud,”
especially not “as loud as you can sing!” That just teaches children to shout. To help them sing in their head voice,
do funny warmups like saying these phrases in a high range: Yoo-hoo! Whoopee! Here, kitty, kitty! I see you!
*Well I certainly didn’t like the British accent idea. A vast majority of children have no idea what that means. (Even
if they think they do, they probably really don’t, speaking from a British citizen’s point of view!!!!) Some may, but I
think there are probably some better ideas out there.
One thing I did when teaching a stake children’s choir (and others) was to tell the kids to sing with their angel
voices. So many times the kids are told to sing louder and then all they do is scream and hurt those tender little vocal
chords. And after all, Heavenly Father only gives us one set, so we have to treat them with respect. I’ve even used
those words with the kids. So, I have them imagine how the angels would sing. I demonstrate different kinds of singing for them and have them guess which is the angel sound. This works well with all the kids, but it makes it so clear
even for the really little ones.
*Work on pitch placement, (listening and hearing where the notes go, then working to “match” pitches they hear,
and listening to see if they match the person standing next to them), but nothing more than that. Children should just
sing with their own sound, simply, and lightly - never forced volume or “more” sound. Pitch placement can be displayed by using a step chart or the old “moving the hand up and down” thing to indicate if the note is higher or lower
or the same as the previous note. It’s simple, but it works. Less is better. Keep it simple.
When you would like more volume from the children instead of asking the children to sing louder (this usually results in a harsh yelling sound) ask the children to sing with more energy (more volume with a pleasing sound).
Model a beautiful sound. You sing a phrase of the song as the children listen. Then you listen as the children sing.
Praise them for beautiful singing. If it could use some improvement don’t let it slide by, model it again and have
them try again. It is important for you to listen and not always sing along with the children so you can hear how they
are doing.
Tape record the children singing. Try it loud and harsh then with energy but not yelling. Have them compare the two
ways. Record them when they are first learning a song then each week record their progress until they have the song
learned. Play the recording for them. Have them listen for how they are singing.
*Something I have noticed with our children is that their role models are pop stars who sing everyting at the top of
their lungs. This can really damage the vocal apparatus. We need to teach them to sing beautifully, you don’t have to
holler. To “make a joyful noise” work more with pitch and less with volume. :-) Natural tones are beautiful in a
child’s voice.
*Quality Rather than Volume – We tend to expect that children should be easily heard, especially when it
seems that they are unsure and somewhat reticent about singing. Thus, frequently, we put our hands up to our ears
and tell them to “sing louder.” Ultimately, they turn up the “wattage” on their voices by pushing and shoving, and
then are rewarded on having achieved the desired volume. Frequently, this is further complicated by putting them
into situations where they are in a large room, or without any sound amplification, so that the only way they can be
heard is to distort their voices. Helping children to understand ways to make a pure tone, to appreciate and enjoy a
resonant and lovely sound, is to encourage them to work on the principles below and to give them the message that,
“It’s not how much comes out of your mouth, it is the quality of what comes out that is important. It will make the
message more inspiring and meaningful to those who listen. Only you as children have the power to affect grownups by voices in this special way.” This may mean at first that they may not be very powerful and should be assisted
with some sound enhancement.
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September 13, 2008
Pat Graham
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Pat Graham
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Pat Graham
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Pat Graham
September 13, 2008
Auxiliary
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September 13, 2008
Choosing to produce “Savior of the World”
Chris Harmon
Savior of the World
Bountiful Regional Center, May 1-3, 2008
SCHEDULE
Auditions:
Call backs:
Jan. 5th 9:30-4:30 pm Snow Creek Bldg. R.S. room
Jan. 11th 6-9 pm
Snow Creek Bldg. R.S. room
Jan. 12th 9-4 pm
Snow Creek Bldg. R.S. room
Rehearsals: Every Saturday 9-11 am, from Jan. 19th to April 26th, for all participants.
As performance dates approach Saturday rehearsals will be extended.
Scene Rehearsals: Individual scenes will be rehearsed on Thursday nights, and Sat. afternoon 11-1:30 pm.
Only the cast members performing in the scheduled scene rehearsal will be required to attend. Each
scene will be rehearsed a total of three times till April.
April Rehearsals: Rehearsals for the first two weeks will increase to two nights a week from 6-10 for
scenes & longer Saturdays. The last two weeks will be dress rehearsals in the Bountiful Regional Center
every night Tues.—Sat. for all participants.
CASTING
All cast members except the Savior, Mary, & Gabriel, are part of the chorus. Everyone represents townspeople and other mortals on earth, and heavenly beings who witness sacred events taking place. They bear
their testimony of the true importance of our Savior’s life and his mission.
Men – Speaking only
Savior
Malachi
Mary’s father
Gabriel
and Act 2 ,Angel to Joseph
shepherds, and Act 2 Angel to
Angel to Nephi
Abinadi
Micah
Lamanite Samuel the
Luke
Men – non-speaking roles
Arimathea Joseph of
Nicodemus
*and 3 ,Disciples 1, 2
Temple priests 11
Male soloists
13 boy soprano-Nathan, age 9
Zacharias
*Joseph
Joseph’s uncle Micham
Thomas, apostle
Cleopas
*Disciple
(* Solo/ensemble 5 Shepherds (1 of them
(* 2 of them-apostles (1 10
Can be as young as 16 *
Young Men – speaking only
10-Beggar, age 8
12-Joshua, age 8
12-Ezra, helper to Zacharias, age 8
12-Mary’s brother, age 10
14-Benjamin, helper to Zacharias, age 12
16-Aaron, son of John, age 12
30-Roman soldiers, ages 16 4
30-Roman statesman, age 18
12-Temple boys, age 8 8-6
13-Nephews of Micham, age 9 3
30-Nephi, age 17
Young girls – speaking only
10-Anna, Mary’s sister, age 8
12-Rebekah, daughter of Joanna, age 8
Female soloist
Elizabeth
*Mary
Mary Magdalene
Mary’s mother
Mary’s aunts 2
Salome
Mary, mother of James
Joanna, young mother
25-Mary’s cousins, age 14 5-4
*women in Act 2, any age 4
64
September 13, 2008
Choosing to produce “Savior of the World”
AUDITIONS Jan. 5th
Accompanist is provided
9:30-4:30
Chris Harmon
Snow Creek RS room
Please sign up for a time with your ward representative. Be prepared to sing any song, one minute
or less in a group of up to 6 members. (Ward reps can help to put together groups). For those desiring
singing ROLES (see other side), prepare a 1 minute solo. We will also test your range. For youth ages 814 the only role requiring a solo is Nathan, the boy soprano shepherd. Girls ages 14 and up trying out for
Mary’s cousins should sing a solo, or with one other person.
If you would like to try for a speaking or singing ROLE, you will be asked to read from a script
provided. Youth ages 8-12 can bring a short prepared reading.
The “Savior of the World” depicts the lives of real adults in the scriptures. But the family unit is
brought in through Mary’s family, by seeing all ages of angels grouped in “families” witnessing what happens on the earth, and in other ways. To have a healthy balance of ages, here are some guidelines:
1. Need for men of all ages. We are hoping for at least 5 Melchizedek Priesthood holders per
ward to participate. This is needed to adequately represent the spiritual men who lived while
the Savior was on the earth.
2. Children ages 8-12 should have a desire to be there. Focus and commitment will be necessary
from these “big spirits in little bodies”. It’s best if it’s not just a family convenience. Rely on
inspiration for your family in this decision. For participants with young children NOT involved,
we are asking for home child care volunteers for rehearsals and performances. If a child desires
to audition, but their parents are not, the parents need to select a substitute parent who is auditioning. We want all children to be safe. If a child receives a speaking ROLE, their own parent
will want to be with them during any week night rehearsals. We love the children, and they
bring a special spirit!
Some people auditioning will be asked to come to a Call back on Jan. 11th or 12th. If so, you will receive
a call by January 10th with more instructions.
The main qualifications for participants is desire and a willingness to sacrifice. You do not need to be
a singer. If you feel the spirit telling you to be a part of this, do not let fears hold you back. Follow
the promptings and the Lord will open up a way.
Ward reps
Adams Park
Cherry Lane
Country Hollow
Emerald
Falcon Ridge
Fairfield 2nd
Heather Hollow
Snow Creek
Name
Phone number
65
September 13, 2008
Create a Strong Stake Choral Library
Rene Fisher
Music Libraries are great tools for everyone young and old
1.
Do you know what music is available?
2.
Would you like to save money?
3.
Do you want to be inspired?
4.
Do you want to have information at your fingertips?
Come find out how having music libraries will answer all these questions and more. And enjoy a cookie or two.
See you in class!!!
66
September 13, 2008
Providing appropriate music for sacrament meeting can be challenging. The following paragraphs could
be copied and used as a handout to give to people that are asked to provide a special musical number for
a sacrament meeting.
It is our desire that when choosing music for our
Sacrament meetings that we remember the sacredness of this worship time. Here are a few
guidelines from the Church Music Handbook
that may assist you in your selection.
“The hymns of the Church are the basic music for
latter-day Saint meetings,…If other musical selections are
used, they should be in keeping with the spirit of the
hymns of the Church. When questions arise, stake presidencies and bishoprics should determine whether music is
suitable for a particular meeting.” (CMH, pg. 289)
“Organs and pianos are the standard instruments
used in Church meetings. If other instruments are used,…
their use should be in keeping with the spirit of the
meeting.” (CMH, pg. 289)
Be prayerful and remember we are not seeking
for the praise of man, but to glorify God. If there
are any other guidelines set forth by the Bishop,
please respect those. If in question, please contact the Ward Music Chairman.
67
September 13, 2008
Heidi Semadeni
Music in YM/YW Activities
What kinds of activities do our youth participate in as part of the YM/YW programs?
Weekly activities, youth conference, camps, trek, service projects…
Why would we want to include music in these activities?
Young adults are like primary children. They remember what they sing more than what you say.
Songs help solidify memories that stay with us. When we here those songs later in life we tend to
be transported back to where we first learned to appreciate them. The feelings these songs create in
us are more durable and influential than any spoken words may be, because they touch our souls.
When the “ice” is broken with fun songs, people are more open to learning something new. They
also tend to be more honest with themselves about who they really are and who they want to become.
Singing together creates a special bond between those who participate.
What obstacles are we faced with when trying to incorporate music into our youth activities?
The “cool card”, not knowing the songs, leaders aren’t singing so why should I?….
How do we overcome the obstacles?
Take Advantage of Natural Opportunities:
Camp Outs, Special Holidays, Girls Camp/Scout Camp, Campfire programs, Leadership trainings,
Devotionals, Trek, Youth Conf.
Have special songs for special occasions: A theme for the year, theme for camp, trek, youth conference.
SING SONGS OFTEN SO THE PARTICIPANTS LEARN AND KNOW THEM!
Different kinds of songs and when they are appropriate:
Fun/Silly songs
Get things started, meal time, during down time.
(The Princess Pat, Alligator, I’m a Little Pile of Tin)
Filler/Activities songs
During down time.
(Watta Leache, Dum dum dudda, Rock, rock)
Quiet/reflection songs
Helps us settle down, bed time, after a learning activity, campfire program, honor trail, flag ceremony.
(Spiders Web, Candle on the Water, Do You Believe, On My Honor,
Scout Vespers, Patriotic songs)
Spiritual songs
During a campfire program, testimony meeting, whenever the spirit
prompts.
(How Great Thou Art, I Am A Child Of God, Come, Come Ye
Saints)
68
September 13, 2008
Heidi Semadeni
Song Books are great items to have: They enable everyone to have the words to the songs, and allow you
to include a variety of songs. You don’t have to have accompaniment to sing. They can include schedules.
Choosing appropriate songs:
Fun and silly songs definitely should be part of our programs, but use wisdom while choosing which songs
to include in your song book. There are some that are better than others, and others still that should
be avoided. Remember that the youth will try to take things one step farther than their leaders do.
Set a good example and they will follow.
Quiet/reflective songs should do just that; help the youth to feel quiet and reflect on what they’ve just
learned.
Music is a very powerful tool. Let’s use it wisely as we teach our youth the gospel.
69
September 13, 2008
Annette Dickman
Relief Society Music Directors: Serving the Lord with Gladness
“The purpose of Relief Society is to assist priesthood leaders in carrying out the mission of the Church
by helping sisters and families come unto Christ.”*
A Relief Society Music Director is called to further the purpose of Relief Society. As part of her calling,
“she presents a five-minute music period during Relief Society meetings. Suggested ideas for the music
period include learning hymns, discussing the use of music in the home, learning musical skills, listening
to good music and discussing its qualities, and singing in parts.” (p. 198) Relief Society Music Directors
can teach, fulfill, and strengthen the six objectives of Relief Society while bringing sisters to Christ and
helping them to feel the Spirit through music.
1. Build faith in the Lord Jesus Christ and teach the doctrines of the kingdom*—This is wonderfully
accomplished through learning hymns. “The hymns invite the Spirit of the Lord, create a feeling of reverence, unify us as members, and provide a way for us to offer praises to the Lord.” (Hymnbook, First Presidency Preface) Hymns teach gospel doctrine and cement concepts taught in Relief Society lessons. Plan to
teach hymns that correspond with the lessons. Point out specific texts which emphasize the doctrines in the
manual. Point out and share the scripture references at the bottom of the score. Bear testimony of the Savior and of the truths in the texts. Communicate with the instructors and Education Counselor to plan more
effectively.
2. Emphasize the divine worth of each sister*—Teaching the sisters to sing in parts (make use of the
hymns for Women’s Voices) and to build musical skills will develop talents and build confidence. Remind
them that each is a daughter of Heavenly Father and has been given a gift. Give positive feedback to participation. Ask individual sisters to participate in singing a particular verse of a hymn or sharing her instrumental talents during the five-minute music period. Ask a sister to share her favorite hymn and why it is
meaningful in her life. Coordinate with the Ward Music Chairman to prepare and present special musical
numbers in Sacrament Meeting as a Relief Society choir or small groups of sisters. Musical Enrichment
Activities could be organized to help sisters learn vocal or instrumental skills.
3. Exercise charity and nurture those in need*--Find ways to use music to offer compassionate service.
Elderly, homebound, handicapped, or sisters with chronic illness could be blessed by sisters sharing music
in their homes. Help sisters with musical talents find opportunities to serve in the community in nursing
homes, schools, and shelters.
4. Strengthen and protect families* -- “Music has boundless powers for moving families toward greater
spirituality and devotion to the gospel. Latter-day Saints should fill their homes with the sound of worthy
music.” (Hymnbook, First Presidency Preface) Teach sisters how to incorporate music into Family Home
Evenings and activities. Help them learn to enjoy listening to good music and how to teach its qualities in
their homes. Teach them how to make the hymnbook “take a prominent place among the scriptures and
other religious books in [their] homes” and how “the hymns can bring families a spirit of beauty and peace
and can inspire love and unity among family members.” Teach the sisters some of the songs their children
are learning in Primary. Teach them to have family devotionals which include music that will strengthen
and bless children and teenagers. Teach them how to “Hum Your Favorite Hymn” (Children’s Songbook,
p 152) to thwart temptation and face trials.
70
September 13, 2008
Annette Dickman
5. Serve and support each sister* -- Get to know each sister by name. Learn her talents and interests. Call
and sing “Happy Birthday”. Involve each sister in the five-minute music period throughout the year. Comment to individual sisters your gratitude for her singing in Relief Society. Share beautiful music with sisters who are struggling or who have particular interests. Help the sisters to feel the unity and joy that
comes through singing together with the Spirit.
6. Help sisters become full participants in the blessings of the priesthood* - Help sisters to recognize
the temple in the hymns. Help them see references to covenant keeping. Encourage them to use the hymns
to help them overcome bad habits, keep the Sabbath Day holy, and be motivated to pay tithing. Bear your
testimony of the power of music to help keep us “unspotted from the world.”
Resources for Relief Society Music Directors include the Hymnbook, the scriptures, the lesson manuals,
Church Magazines, and the Church Handbook of Instructions--Relief Society, Music, and Gospel Teaching
and Leadership Sections, “Teaching: No Greater Call”, and lds.org. *Quotes from Church Handbook of
Instructions: Section 3 – Relief Society, p 193
Music for Sunday Relief Society meetings begins with a prelude. If there is no pianist available, use the
hymn recordings available at the Distribution Center. The opening hymn follows a welcome by a member
of the presidency. Following the prayer and Relief Society business, the music director presents the FiveMinute Music Period. The closing hymn follows the lesson and precedes the closing prayer. Occasionally
a teacher may request special music during the course of her lesson.
More Five-Minute Music Period Ideas
Sing hymn texts to different melodies which correspond in meter. (See Hymnbook, page 405). An example
might be to sing the text of “More Holiness Give Me” (#131) to the music of “Away in a Manger” (#206)
Share the stories behind the hymn—when they were written and why. Show the influence of the Holy
Ghost on the author and composer.
Experiment with the differences made by dynamics, expression, breathing with punctuation, and proper
breathing techniques. Bring a metronome to find the correct tempo as indicated in the Hymnbook. Show
how tempo changes the mood and impressions of a hymn. Conduct the hymn as a choir director would and
help the sisters learn to better follow a conductor.
•
Watch for unusual words in the text and teach their meanings.
•
Help the sisters memorize the hymn texts.
•
Sing the additional verses at the end of a hymn.
•
Spotlight a new sister by having her share her favorite hymn.
71
September 13, 2008
Annette Dickman
Some things to remember:
The Relief Society Music Director “reviews all music with the counselor assigned to education. Most music should be from the hymnbook, though occasionally other sacred music that is appropriate for religious
services may be used.” See the guidelines in “Frequently Asked Questions” on lds.org – “Serving In the
Church” – “Music Callings and Resources” (“Music for Relief Society follows the pattern for other
Church meetings.”)
“Music in Church publications such as Hymns and the Children’s Songbook may be copied for noncommercial Church or home use if it (1) bears a copyright notice indicating that it is owned by the Church or
Intellectual Reserve, Inc. (IRI) or (2) includes instructions that allow such duplication. Each copy should
include any existing copyright notice. Music that is not owned by the Church or IRI may not be copied
unless the copyright owner has given permission, the copyright notice states that the work may be duplicated, or the work is in the public domain (the copyright has expired).” (lds.org—Serving in the Church—
Music Callings and Resources—Music in Church Meetings – Related Topics—Copyright Guidelines)
The Five-Minute Music Period is just that. Sister Julie B. Beck, General Relief Society President, has
counseled: “Every called and set apart Relief Society leader has the right and authority to be guided in fulfilling her inspired assignment to best meet the needs of those she serves. You will receive the help of the
Holy Spirit as you focus on essentials and will be given the courage to forego the frivolous… In our Sunday Relief Society meetings, openings should be brief and invite the Spirit to be with us. We need every
possible minute to study the gospel together so we can be best in our responsibilities.” (“What Latter-day
Saint Women Do Best: Stand Strong and Immovable,” Ensign, November 2007, p. 109-112) Staying
within and making the most of the five minute time limit will require careful and prayerful preparation and
planning.
“Music is given of God to further his purposes. Sweet melodies mellow the souls of men and help prepare
them for the gospel. After men receive the truth, songs of praise to Deity help to sanctify and cleanse their
souls.” – Elder Bruce R. McConkie, Mormon Doctrine (1966), p. 521
Those who choose, conduct, present, and accompany the music may influence the spirit of reverence in our
meetings more than a speaker does. - President Boyd K. Packer, Ensign, Nov. 1991, p. 22
“I wonder sometimes if we realize the importance of music. I wonder if we know that the Lord himself is
concerned about it. He has given us the information that the song of praise is a prayer unto him. . . . It [is]
our privilege, yea, our blessing, to sing and . . . our songs should be sung in righteousness.” – President
George Albert Smith, Church News, Feb 16, 1946, p. 6
“Serve the Lord with gladness: come before his presence with singing.” – Psalm 100:2
72
September 13, 2008
Stake and Ward Music Chairman Roundtable
Vida Gruendell
STAKE AND WARD MUSIC CHAIRMEN ROUNDTABLE
“Sing forth the honour of his name; make his praise glorious.” (Psalms 66:2)
“WORSHIP” through the hymns
RENEW LOVE AND ENTHUSIASM FOR MUSIC
Ideas:_________________________________________________________________________________
________________________________________________________________
BRING UPLIFTING MUSICAL OPPORTUNITIES
Ideas: (fresh and appropriate)
______________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
________________________________
ORGANIZE (music to enrich the lives of all members)
Events, improving personal skills/knowledge
______________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
________________________________________________
HANDBOOK (policies and procedures review)
______________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
________________________________________________
QUESTIONS/ANSWERS
______________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
________________________________________________
Remember: Every hymn is special to someone
It’s not about us—it’s about God and them.
73
September 13, 2008
74
September 13, 2008
Youth
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
_______________________________________________________________________________________________________
75
September 13, 2008
Faith Cooper
Youth Conducting or
Why Do You Wave That Arm Around?
The Basic Patterns
2 Beat
3 Beat
4 Beat
The preparatory beat, (When does my arm go down?)
The hold or fermata (Does the eye ever blink?)
Working with the accompanist (You mean I tell them what to do?)
The Ending with finesse! (Whew, I made it!)
Using our Hymn book
On each page are great tools to help the conductor understand the hymn, mood markings, suggested tempo, introduction brackets
and suggested scriptures that are cross-referenced with the hymn.
Tips on Conducting
Practice, practice, practice!
Avoid becoming Floppy Flo, Flamboyant Freddie, Gigantic George or Timid Tim.
Let your face reflect the mood of the song
Let your arms help express the mood of the song.
If you lose your place while conducting, move your arm up and down to the beat until you find your place again. Always listen
for the stronger down beat.
76
September 13, 2008
Teen Beginning Vocal Class
Lindsay Hickman
1. Relaxation
2. Breathing
Sternum should be high; shoulders back and relaxed, but never slumped.
No pushing out or pulling in of the stomach
Think of a natural expansion all the way around the middle
Breathing Exercises
Lean over like a “rag doll” bending at the waist - feel breathe expand around middle of body.
Onset
The way you “start” your sound
3. Some important points to remember:
Correct singing is natural singing
If is doesn’t feel right, then it probably isn’t right!
Every voice is different, just like instruments in an orchestra
4. Resonance
Think of the Tabernacle - the shape of the ceiling - how the sound echoes
Soft palate is your vaulted ceiling - your echo space!
Breathe in as if you are about to sneeze or yawn
Smile!
5. Choosing songs to sing in sacred settings
Sacrament Meeting
Hymn arrangements are best choice
Other sacred songs - No “Mormon Pop”
How you sing the song can make a difference
Young Women/Young Men/Firesides etc.
Reverence still applies
You may sing more “pop” songs
Sing your testimony!
77
September 13, 2008
Teen Intermediate Vocal Class
Lindsay Hickman
1. Relaxation
2. Breathing
Anatomy of breathing
Breathing Exercises
“Rag doll” exercise
Onset
How you start your sound - hard, soft, or balanced.
Vibrato
Natural result of balanced breath (ping pong ball example)
3. Resonance
Anatomy of face/voice
Soft palate is your vaulted ceiling - your echo space
Breathe in as if you are about to sneeze or yawn - Smile!
4. Style
Difference in styles created by different use of resonance
Pop style - more breathy, less soft palate lift
Musical Theater - forward resonance, some soft palate lift, more chest mix
Classical - lots of soft palate lift and some forward resonance
Difference in styles created by different use of diction
5. Choosing songs to sing in sacred settings
Sacrament Meeting
Hymn arrangements are best choice
Other sacred songs - No “Mormon Pop”
Young Women/Young Men/Firesides etc.
Reverence still applies
Sing your testimony!
78
September 13, 2008

Primary - Utah Regional Music Workshop

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