Trinity
Choir Parent’s Handbook
Trinity Church
732-775-5084
www.trinitynj.com
Dear choir parent,
Thank you for the gift of your child. It is a privilege
to have your child here as a Trinity choir member. I look forward to a long and
happy association together.
Any time that you have ideas, questions, or concerns
about the choir, please speak to me. And thanks again for becoming a part of
our choir family!
Diane Caruso
Director of Music
Table of Contents
Introduction............................................................................................................... 3
Chapter 1 – Choir Program Objectives..................................................................... 5
Chapter 2 – Choir Parent Responsibilities................................................................ 6
Chapter 3 – Musicianship Training........................................................................... 8
Chapter 4 – Procedures You Need To Know......................................................... 11
Chapter 5 – Giving Your Child Extra Help............................................................. 14
Chapter 6 – A Borrowed Philosophy....................................................................... 16
Introduction
Welcome to the Youth
Choir at Trinity! This is the complete
handbook for choir parents. It explains what I do here and why. It is about
expectations: what you should expect of me, and what I expect of you and your child.
This program is new
for Trinity. While Trinity has had a choir for children in the past, we have
decided to expand and put into place a program that your child can grow into
all the way through high school.
Our choirs will
emphasize high musical standards, good repertoire, training in music reading
and musicianship. In addition, I understand the social nature of choirs. I want
to help the choirs grow into a committed group of friends who share interests,
who support each other and grow into mature, capable people.
Most importantly,
these choirs exist to serve God and the people of Trinity parish. We are a
parish choir first. Our primary purpose is to sing services at Trinity as
outlined on the schedule given out when you join. You don’t have to be a member
of Trinity to join one of our choirs, but we are happy to nurture your child
and your family spiritually during your time with us.
Our history and heritage
Our musical roots are found in the ancient tradition of
the European Cathedrals. For centuries,
it has been a part of this tradition to train children in the pursuit of
musical excellence. This history of
Choir School in the Anglican tradition is a long one. Even as late as the 19th
century, parishes in
This ancient tradition has built some of the world’s
finest choirs, such a: those of King’s College Chapel,
About the
The training system used for centuries for boys in these
famous Choir Schools was adapted for modern choirs (including girls) by The
Royal School of Church Music in
A record of each choir member’s musical progress is kept
on a Skill Card. Members move through various levels of training, and check off
achieved goals as they are reached. Choir members wear badges on colored
ribbons, thus recognizing their accomplishments.
The training program is designed to be completed in five
to seven years; however the actual time required depends on the age, ability
and effort of the individual boy or girl.
We live in a world where we are often promised quick and easy solutions
to complicated problems. But choir
members learn to reach a distant goal by commitment, discipline and
persistence. Because the skill cards
represent small, accessible steps, choir members get into the habit of
succeeding. These are valuable life
lessons. We look for each choir member to work hard as a responsible member of
the choir, to the best of their abilities, and we help them learn how to do
that.
Chapter
1
Choir Program Objectives
Our program has three primary objectives that give it its
character:
1.
To make the best music possible for the glory of
God
2.
To form excellent performing choirs to make that
music
3.
To teach children, through the vehicle of choir
training, to read and interpret that same music with artistic sensitivity.
Therefore, the immediate -
though not the only - goal of the musical training is the creation of a capable
performer for God’s glory. This is why
we are technically a choir school - more than just a children’s choir, and more
than just a music school. All our goals
are equally important.
Choir training has long been a valued part of a musician’s
education, because of the skills that are developed best by learning to
sing. Consider: anyone can produce a
pitch on a piano, by pressing a key. But
producing a pitch with your voice is not mechanical.
You must
first have the ability to mentally visualize or imagine the sound before you
can sing it. Learning to sing in a choir means you must learn to imagine these
sounds, discern the differences between them, and produce the correct ones on
your own, relying on no device but your own mind and ear. You must learn to do this, both in
relationship to other sounds you hear (ear training), and in response to notes
printed on a page (sight singing).
Choir training is absolutely the most effective
way to learn to sight read and have a good ear; singing trains the “inner
musician” who will then be a better pianist, or instrumental musician, as well
as being a fine singer.
Choir training is also an
excellent way for a child to learn to interpret music with artistic
sensitivity. Because singing is easier
to learn than musical instruments, the child singer soon has access to music of
great depth and integrity, and they learn to bring their whole selves to its
performance, mind, body and spirit. In this process each child is brought to
encounter the ultimate nature of music: to touch and to cherish this divine
gift from God.
The highly structured and
disciplined choir environment may seem surprising. When compared to other children’s activities,
it does seem odd:
· Many
programs for children are designed to entertain, or create something fun to
do. Our children will have a lot of fun,
but that isn’t our primary purpose.
· Other
programs are designed to educate children. We do educate children, but that is
not the main reason we do this.
· Many
programs serve children in some way. But
our first goal is not to serve the children - it is to teach the children to
serve God - through music.
Chapter 2
Choir Parent Responsibilities
The choir program is supported by
Attendance. Good
attendance is absolutely essential in choir, and your child needs your help to
achieve it. This is your most important
responsibility as a choir parent. It is
important that you read the choir schedule and make note of the dates,
especially of performances. Do not
schedule any other activities for your child at those times. Help him/her learn to prioritize, and not
accept engagements that would conflict with choir. Help your child grow into a responsible
adult.
Each week’s rehearsals make a
full practice, and all members are expected there 100% of the time. If you
can’t come on Wednesday, be sure to schedule a make-up on Thursday, or
vice-versa.
Encouragement. Your
emotional support of your child is essential to his/ her success as a choir
member. Find out how s/he is doing, and
celebrate his/her accomplishments. Your
child has worked hard! S/he also needs your help to learn teamwork skills. Read and discuss the Choir Member’s Handbook
together.
Chaperones.
Occasionally we may be asked to sing elsewhere, or take trips that will
benefit our choir’s education. We then need drivers and chaperones to make sure
the activity happens safely and in an orderly fashion. You will be asked to
sign permission slips for such activities, and be asked to chaperone or drive.
We also need organizers and chaperones for any social activities.
Sunday morning help. By the time a choir member has
been in the choir for a year or more, s/he will be pretty self-sufficient on
the Sunday mornings s/he sings. However, the first few times your child comes
to sing for Eucharist, it is helpful for a parent to come along for the
warm-up. Tasks you can help your child with involve getting his/her cassock
(and surplice, when earned) on, finding music, and offering reassurance. Your
child is responsible for his/her own vestments and pin or badge. This means
s/he must learn to put them on the hanger properly. Your help in reinforcing
this is very much appreciated.
Become active as a Choir Parent. Trinity has identified specific areas where the program
needs specific assistance from volunteers: robe laundering and repairs, telephone
chains, transportation, social activity organization. Each new family will
receive a form asking for help in one of these areas.
Chapter 3
Musicianship Training
Below is a summary of what your child will be working to
master at each level of skill. It is designed to give, over the next several
years, your child comprehensive music training in the art of choral
singing. In addition, much history and
general knowledge is incorporated as well.
To earn a surplice
Music Theory: the
staff; basic rhythms of 1, 2, 3 and 4 beats; stopping a note properly; finding
one’s place in the score
Ear Training: pitch
matching and memorization – single notes
Sight-Singing: rhythm values of 1, 2, 3
and 4 beats
Singing Skills: learning
to make a proper siren sound (the basis of singing training)
Ensemble Skills: taking care of music; paying
attention; courtesy to others in choir; finding a place in the hymnal; arriving
on time; watching the conductor for cues
Liturgical Skills: memorization of the Lord’s Prayer
Level 1 (pin)
Music Theory: simple time signatures;
rhythmic values of 1/2, 1, 2, 3 and 4
beats
Ear
Training: pitch
matching on three successive pitches; words and rhythms together on the above
rhythmic values; matching high notes, recognition of triads; whole steps and
half steps
Sight-singing: words and rhythms together
on the above; rhythmic values; pointing to each note sung or performed (thus
looking at the notes themselves)
Singing
Skills: breathing
basics; sirens to form head voice; singing high notes beautifully as a result
of siren developing the sound; posture
Ensemble
Skills: Reinforcing
beginning skills; increased concentration; courtesy to others in the choir;
arriving on time; being prepared
Liturgical
Skills: knowing sung parts
of the Eucharist
Level 2 (light blue ribbon with badge)
Music
Theory: dynamic
markings; major scales; note names; whole and half steps; more complex time
signatures; intervals of 2nds & 3rds; triplets and dotted notes;
recognition of arpeggios and sequences
Ear
Training: major scale;
major and minor 3rds; rhythm, pitch together;
Sight-Singing: sing simple tunes in mostly
step-wise motion at sight; putting rhythm; pitch and words together in simple
combinations
Singing
Skills: vowel
formation; consonants; advanced breathing; resonance
Ensemble
Skills: full concentration;
finding place; recognizing and acknowledging errors; distinguishing between
work and play
Liturgical
Skills: Memorization of
the Liturgy of the Word; proper responses to say during Eucharist;
Level 3 (dark blue ribbon with badge)
Music
Theory: 16th notes;
words and rhythms together; intervals larger than 3rd; major key signatures
Ear-Training: intervals of 4th,
5th and octave; distinguishing between two notes played at the same
time
Sight-Singing: singing a hymn or easy
piece at 2nd sight; 16th notes with rhythm and words
Singing
Skills: extended
range, breathing skills; tone quality; consistent use of good vocal technique
Ensemble
Skills: group articulation;
phrasing and accents; communicating a thought or emotion; attention and
concentration; cues; assuming responsibility; leadership in rehearsal and
performance
Liturgical
Skills: memorization of
the Liturgy of the Eucharist; memorization of Nicene Creed
Level 4 (red ribbon with badge)
Music
Theory: all major and
minor intervals within an octave; major key signatures; compound time
signatures; meter changes; naming notes of triads
Ear-Training: all major, minor and
perfect intervals; ascending and descending intervals within an octave; singing
a second part alone; taking up leads from other parts;
Sight-Singing: all major and minor
intervals; syncopations; reading a moderately difficult piece at 2nd sight
Singing
Skills: mouth
formation; consistent use of good diction; consistent good posture; tuning
Ensemble
Skills: group articulation;
phrasing and accents; performing practices; attention and concentration at top
form; cues; able to communicate musically; leadership in rehearsal and
performance
Liturgical
Skills: Knowledge and
understanding of Evening Prayer, Morning Prayer, other forms of communal
prayer; leadership during Eucharist
Level 5 (gold ribbon with badge)
Music
Theory: minor scales and
triads; parallel and relative minor; augmented and diminished intervals and
triads
Ear-Training: any ascending or descending
interval within an octave; minor, chromatic and whole-tone scales; minor,
augmented & diminished triads; distinguishing all three notes in a triad;
remembering short melodies played only once; singing chromatic scale in tune
Sight-Singing: mixed divisions of beat;
singing fairly difficult music accurately at 3rd sight; rapid learning of
difficult new material
Ensemble Skills: helping
rehearsal proceed efficiently and productively through attention, preparation,
effort and leadership; recovering from disasters; helping teach others;
striving toward excellence
Liturgical
Skills: understanding of
music’s role in liturgy; some recognition of historical perspectives; full,
conscious, active participation in all liturgies of the church
STANDARDS
One thing the RSCM program uses is standards. This
is a system of points earned for attendance and work. Earning standards nets a
student something nice, perhaps a gift certificate for ice cream, or if saved
up, a Target Gift Card. Poor attendance and poor work lose standards, and can
mean that the nice something is delayed or put off altogether. This is one more
way of helping choir members recognize that good work means good things may
come. It is one more “carrot” to make the work choir members do pleasant and
fun – and not all rewards need to be delayed!
Chapter 4
Procedures You Need to Know
The choir benefits your child, but our first
reason for existing is to fulfill our responsibility to Trinity. We have a job to do. Our procedures have been designed to help the
organization run smoothly, so choir can be productive and enjoyable. Please follow procedures - we are a team and
we need everyone working together “on the same page”.
To help students achieve as much as possible, each choir
meets up to twice a week as a group, with individual work done within rehearsal
and at other times that are mutually convenient.
Each choir meets on Mondays and/or Thursdays at the same
time:
Girl:
Wednesdays from 4:15 to 5:30 PM
Boys:
Thursdays from 4:15 to 5:30 PM
We will meet in the Choir Room. Choir members will each
have a cubby to hold their music. Their vestments are in one of the closets in
the Choir Room. Each new member will be fitted with a cassock upon joining, and
refitted once or twice a year as s/he grows. The white surplice which goes on
top must be earned.
Choir members should arrive at least 5 minutes before
rehearsal time, so as to be ready to start on time.
I usually send a performance schedule during the summer
months, with each choir singing about twice a month, mostly on Sunday mornings.
Periodically the choir will sing Evensong on a Sunday evening, and occasionally
for other services or at other churches.
Unlike other choirs of this caliber, we do not
have a probationary time without responsibilities to the church – I believe in
service to the parish from the very beginning. In short, they are a regular
parish choir, fulfilling regular parish responsibilities.
Attendance is not optional! Every rehearsal and every performance is
required. Once you receive the choir
schedule, you commit your child to all the dates on it. I expect your child not to accept any
invitations that would conflict. Please
do not schedule any conflicting activities yourselves. If a family party is on the schedule, make
Sunday service attendance part of the party.
You will not normally receive any reminders of the performance dates, so
post the schedule somewhere in your home where you can check it. If you lose
your copy of the schedule, please pick up another copy as soon as possible.
A small, but important point –
if, for certain reasons, I must change a date previously given to you, and you
have a conflict with the new date, I accept that your previous commitment to
the conflicting activity takes precedence over choir. I won’t hold double
standards here.
Talk to your child about
his/her schedule with choir, and keep her/him apprised of what is coming up.
This way, your child will feel more in control of his/her activities with
choir, and be less passive about his/her responsibilities.
While I try to schedule other
singing activities in addition to singing for services, both for fun and for
additional opportunities to sing, our primary responsibility is the Sunday
liturgy. Please treat the Sundays your child sings for Eucharist or Evensong as
the most important activity.
If your child must be absent,
due to illness, emergency or unavoidable school requirement, please call to
inform me. This saves me from asking the
children if they know where someone is, and wondering what happened. Please
give me as much notice as possible, to assist me in planning that day’s
rehearsal.
On Wednesdays and Thursdays,
you may call the church office (732-775-5084) before 4:00 PM and leave a
message on my voice mail. You may also email me at music@trinitynj.com. Please don’t leave me any messages on those
days at home, since I do not get home to get phone messages until well after
rehearsals are over.
In the music room you will find
two useful locations:
1.
The bulletin board has a copy of the schedule
where you can check dates. You should also check the standards chart to find
out how your child is doing. You may also see occasional announcements.
2.
We will be putting copies of the handbooks,
schedules and other important documents on the Trinity website:
www.trinitynj.com.
Most often I will try to get
any notices to you in the mail or by email, so you will have it in writing.
We will also be forming a
telephone chain for last-minute emergency announcements.
Please pick your child up promptly after
rehearsal. It is extremely distressing
to a child to be left alone after all the other children have been picked up.
If problems come up
This is an imperfect world, and sometimes problems
happen. If you are having difficulty with your participation in choir, please
don’t just disappear. Come and talk to
me about it. Nearly all problems can be
solved. You may think that nothing can
be done, but you may be wrong. If there is a practical difficulty, perhaps we
can find a solution.
Rules can sometimes be
changed. But if you just disappear, you
are not even letting me have a chance to work it out. I work at building a good relationship with
all our children, and to lose even one saddens me greatly.
Chapter 5
Giving Your Child Extra Help at
Home
From time to time, parents have asked me what they can do
at home to give their child’s singing training a little extra boost. Here are some ideas:
· SING. You don’t
have to have a wonderful voice, or even one that sings on key. You don’t have
to join the choir (although you are certainly welcome to!) Just sing.
Sing to your child; sing with your child. Let your child see and
hear you singing for the sheer joy of it. Sing during Eucharist, even if you
think you can’t. Sing in the car, in the shower, on the way to soccer or
ballet. Your child won’t know that singing is a normal human activity if you
don’t do it yourself!
· Listen
to recordings. The best way for
your child to learn that “treble sound” is to hear it. You can order recordings of some of the
world’s finest treble choirs from any large music store such as Tower Records,
or on the Internet. Recommended choirs:
The American Boychoir; The Choir of St. Thomas Church Fifth Avenue, New York
City; The Choir of King’s College,
· Hear
choirs in person – We are fortunate to be centrally located to
both
· Voice
lessons. If you wish, I can try to recommend for you a private
voice instructor who will give your child voice lessons. Tuition varies, as does the method of
teaching and focus. Choose someone who understands a child’s vocal development,
and who will not damage your child’s voice. Many teachers recommend waiting
until the teen years before beginning serious vocal study.
· Attend
an RSCM Summer Course. If your child is at least 9 years old and has
been a dedicated choir member for at least a year, I will consider recommending
him/her for a one-week intensive singing course sponsored by the Royal School
of Church Music. These courses give your
child the opportunity to perform challenging, adult-level music under the
direction of an internationally recognized conductor, in a fun, well-supervised,
camp-like setting on a college campus.
See me for details.
· Instrumental
study. Any sort of
instrumental study is of benefit to your child’s musical development. All the
disciplines are interrelated, and one will inevitably help the other.
Chapter 6
A Borrowed Philosophy
“... We have a right to expect and demand of ourselves
not flawless performance but humanly great performance. Music has finally to issue in sound; and the
sound has no meaning unless it is the voice of the spirit. The only crescendo of importance is the
crescendo of the human heart.
The grammar of music is
essential, and those of us who would be musicians are obligated to become
experts in its manipulation; but the meanings of notation, of marks of dynamics
and tempo, are not limited to their dictionary equivalents. They are frail and meagre and hopeful
suggestions to the human spirit to respond to the “why?” behind the symbol.
We’ve worked hard on musical disciplines. They aren’t good enough. They never are. But all that we have accomplished is worth
nothing at all unless it releases the spirit to sing and shout, to laugh and
cry, or pray the primitive prayer. I
earnestly believe, too, that the spirit-and only the spirit can guide us to the
sound. If hearts hymn, then the sound is illumined.”
Robert
Shaw, 1916-1999
from a letter to NY
Collegiate Chorale,
February 12, 1953
The Choristers’ Prayer:
Bless,
O Lord, us thy servants,
Who
minister in thy temple.
Grant
that what we sing with our lips,
We may
believe in our hearts,
And
what we believe in our hearts,
We may
show forth with our lives;
Through
Jesus Christ our Lord. Amen
The RSCM Motto:
Psallam Spiritu et Mente
I will
sing with the Spirit
And
with the Understanding also.
Grace Before Meals
The Rev. David Stout, Rector
Diane D. Caruso, Director of Music
