NATIONAL ACDA
2017 HONOR CHOIRS
Dear Children’s Honor Choir singers and families,
Congratulations on your selection to the 2017 National ACDA Honor Choirs! Over 4,200 singers auditioned
this year and we are proud and happy you have been chosen as one of the finest singers! If you are not able to accept
this invitation, please do let us know immediately (no later than December 1st) so we can find another singer to replace
you.
In this packet, you will find information about the next steps toward your journey to sing in Minneapolis, MN.
Please read carefully and make sure you complete the necessary steps by the deadline. It is your responsibility to take
care of these items in a timely manner. Use this checklist to make sure that you have completed each item! The last six
pages will need to be printed, completed, and mailed to the Honor Choir Coordinator. The other pages are
informational only. Be sure to also print the music selections and add these to the music packets you receive in the
mail. Bring them with you to Minneapolis.
Once we have received your registration fee and forms, music will be mailed to you. You will also have
access to part recording materials online (http://choraltracks.com/acda) so you can begin learning your music.
Sincerely,
Jessica Napoles, Coordinator
_________
ALL FORMS MUST BE POSTMARKED BY DECEMBER 10th, 2016!
Registration fee of $120 (nonrefundable) paid with a credit card or check mailed to Coordinator by
December 10th.
Email the Coordinator if any contact information (email or mailing address) has changed.
_________
Complete last 6 pages from this packet and send to the Honor Choir Coordinator by December 10th
_________
Begin learning your music, using part recordings on http://choraltracks.com
_________
Make hotel reservations at your chorus’ host hotel ASAP– request the National ACDA Honor Choir rate.
_________
Make travel arrangements to Minneapolis. Registration begins on Wed. March 8th at 10 am!
Please note that all singers are expected to stay in their host hotel.
Mail all required forms to:
ACDA Honor Choir Coordinator
Jessica Nápoles
University of Utah
School of Music
1375 E Presidents Circle
204 David Gardner Hall
Salt Lake City, UT 84112
Questions: [email protected]
HOTEL CONTACT INFORMATION
Rehearse in Marriott City Center
Grand Portage Ballroom
Children’s Honor
Choir
Housing Website:
https://resweb.passkey.com/go/HonorChoir2017ACDA
Plan to arrive in Minneapolis on Tuesday evening, March 7th, or by 10 am Wednesday morning, March 8th.
REHEARSAL SCHEDULE
Wednesday, March 8th, 2017:
All rehearsals in Marriott City Center Grand Portage Ballroom
10 am-12 pm Registration
1-2 pm
Required Orientation for Singers, Parents, and Chaperones (Concert tickets distributed)
2-5 pm
Rehearsal #1 (Part Check)
5-7 pm
Dinner Break
7-9 pm
Rehearsal #2
Thursday, March 9th, 2017:
All rehearsals in Marriott City Center Grand Portage Ballroom
9 am-12 pm
Rehearsal #3
12-2 pm
Lunch Break
2-5 pm
Rehearsal #4
5-7 pm
Dinner Break
7-9 pm
Rehearsal #5
Friday, March 10th, 2017:
9 am-12 pm
Rehearsal #6
12 -1:30 pm
Lunch Break
1:30 pm
Bus pickup at Marriott City Center to Orchestra Hall
2:45-3:30 pm Dress Rehearsal in Orchestra Hall
3:30 pm
Bus transportation from Orchestra Hall to Marriott City Center
4-5:45 pm
Dinner Break
5:45 pm
Bus pickup at Marriott City Center to CC Main Auditorium
6:30 pm
Attend Contemporary Showcase concert
Bus transportation from CC Main Auditorium to Marriott City Center
Saturday, March 11th, 2017
6:50 am
Bus pickup from Marriott City Center to Hilton Minneapolis
7:20-7:50 am Warmup/Rehearsal in Hilton Minneapolis Ballrooms EFG
7:50-8:10 am Use skyway to walk to Orchestra Hall
8:15 am
Coat check in Orchestra Hall
8:30-9 am
Concert #1 in Orchestra Hall
9:15 am
Bus transportation from Orchestra Hall to Marriott City Center
12:15 pm
Bus transportation from Marriott City Center to Central Lutheran
1:15-1:45 pm Dress Rehearsal in Central Lutheran
2:30-3 pm
Concert #2 in Central Lutheran
Music Screening/Part Check: There will be a music screening/part check event at the beginning of the first rehearsal on
Wednesday. This screening will consist of a walk through by ACDA personnel while the choir sings each piece to
assure that each singer is prepared on the repertoire for their choir. If in question we will give you an opportunity to
privately demonstrate that you do know the music. If you cannot demonstrate proficiency, you will not be sent home,
nor will we provide tutorials on site. You will become an Auditor. If you are significantly late to a rehearsal, miss an
entire rehearsal or commit some other major infraction of rules, decided upon by the Honor Choir managers, you will
become an Auditor. Any singer who becomes an auditor will be allowed to attend all rehearsals, seated in the back of
the rehearsal hall and learn as the other singers do; however, you will not be allowed to sing in the concert. Thus you
will continue to learn and be allowed to attend guest performances and social activities but will lose the privilege of
singing in the concert.
Concert Attire: Singers (females and males) will wear the Honor Choir t-shirt (provided on site) with black dress pants
that reach to the floor (with a black belt, if applicable), and black flat shoes (no sandals, no open toed or open back
shoes). Boys should wear black socks. Girls can wear black socks or knee highs. When you registered/auditioned online
(www.opusevent.com), you should have been asked to provide your t-shirt size. Notify the coordinator of any changes.
Chaperones/Badges: Each singer will receive two free chaperone badges (distributed at the parent/chaperone orientation
meeting). Chaperone badges serve several purposes. They allow free admission into exhibit halls. Chaperones who have
badges can also attend conference interest sessions and non-Honor Choir performances, ONLY after all regularly
registered conference attendees have been accommodated. If you would like to be guaranteed admission to interest
sessions, non-Honor Choir performances, and any other conference activities, you should register formally as a nonACDA member through their website, www.acda.org.
Concert Tickets for Parents: Each singer will be given 2 concert tickets per Honor Choir concert. Chaperone badges
alone will not allow you into Honor Choir concerts. These tickets will be distributed at the parent/chaperone meeting on
Wednesday at 1 pm. If you do not need tickets for one of the days, the Honor Choir managers will reassign these at the
meeting. Additional tickets beyond the 2 are not guaranteed but may become available on a space available basis at the
concert venue, after other attendees have been seated.
PERFORMANCE SCHEDULE:
Saturday, March 11th 8:30 am
Orchestra Hall
Sat., March 11th 2:30 pm
Central Lutheran
Repertoire: Music will be mailed to you when registration fee and paperwork have been received. Check
http://choraltracks.com for part learning materials/recordings.
Cantate Domino. Rupert Lang
Szello Zug. Lajos Bardos
Duet and Choral. J. S. Bach
Kalinka. arr. Joan Gregoryk
Snow Angel. Sarah Quartel
(movement 3 God Will Give Orders and movement 4 Sweet Child)
The Gift to Sing. Andrea Ramsey
Boogie Woogie Bugle Boy. Raye and Prince.
DIVISIS:
When singing 3 part music, Soprano 1 high (REDS) and Soprano 1 low (ORANGES) sing the top line (S1). Soprano 2
high (GREENS) and Soprano 2 low (BLUES) sing the middle line (S2), and all Altos (high and low—YELLOWS
AND GOLDS) sing the bottom line.
When singing 2 part music, REDS, ORANGES, and GREENS sing the top line. BLUES, YELLOWS, and GOLDS
sing the bottom line.
When singing 4 part music (God will give orders/Sweet Child), ORANGES with last names A-L and all REDS sing S1.
Oranges with last names M-Z and all GREENS sing S2. YELLOWS with last names A-L and all BLUES sing A1.
YELLOWS with last names M-Z and all GOLDS sing A2.
On The Gift to Sing REDS with last names beginning with A-F learn the descant.
On Cantate Domino, page 10, there are 3 notes: F, A, and B. All REDS AND ORANGES sing the B, GREENS AND
BLUES sing the A, and YELLOWS AND GOLDS sing the F.
On Kalinka, note that it begins in 3 parts, changes to 2 parts at page 5, then returns to 3 parts at measure 27. At
measures 34 and 36, YELLOWS AND GOLDS leave out the G (S2s sing it), and have YELLOWS sing the E#,
GOLDS sing the C#.
Transportation within Minneapolis:
Getting to downtown Minneapolis from Minneapolis-St. Paul (MSP) airport is quick and easy. Minneapolis-St. Paul
Airport is only 11 miles from downtown Minneapolis.
Metro Transit's Blue Line is the cheapest way, and very convenient. Taxis are plentiful, with fares around $40. I took an
Uber this summer for about $25.
Metro Transit's Blue Line light rail trains run directly to downtown Minneapolis. There is a station at both Terminal 1
(Lindberg) and Terminal 2 (Humphrey), for trains to downtown Minneapolis. Follow the signs in the airport.
Use addresses above for planning and the website www.metrotransit.org for all public transportation options.
There are five light rail stops in downtown Minneapolis - the Metrodome/Downtown East, Government Plaza, Nicollet
Mall, Warehouse District, and Target Field. Your light rail ticket is also valid for use on Metro Transit buses with no
extra charge (Your ticket is valid for 2.30 hours).
The one-way fare is $1.75 during off-peak times, $2.25 during rush hour times. There are ticket machines that take cash
and credit cards at each station.
Trains run approximately every 10 minutes from the early morning until late at night. Trains begin at about 4.30 am,
and the last train is at about 2 am.
The journey time from Minneapolis-St. Paul airport to downtown Minneapolis is just under 30 minutes.
If you are not familiar with the Minneapolis skyways, I strongly suggest you download the app “Minneapolis Skyway”
and take a look at the Figure below. It is a convenient option for staying indoors when it is cold or snowing outside. The
entire downtown area can be navigated through the use of these skyways.
The Conference Center is located at 1301 2nd Avenue South and is a 5 minute drive from the Marriott, 1 minute drive
from the Hilton.
Your conductor is Joan Gregoryk.
Founder and Artistic Director of the Children’s Chorus of Washington (CCW), is
internationally recognized as a leader in the field of children’s vocal music. She developed a
children's chorus at Chevy Chase Elementary School (Maryland) which for many years
performed with the National Symphony Orchestra. In 1995 she founded CCW with the goal of
providing outstanding choral music education for children from throughout metropolitan
Washington, DC. She has prepared choruses for performances with leading conductors such as
Mstislav Rostropovich, Helmuth Rilling, Leonard Slatkin, Valery Gergiev, and Christoph
Eschenbach. Ms. Gregoryk is in demand as a workshop leader and guest conductor throughout
the United States, Canada, and Europe. She has conducted numerous district and state
children’s honors choruses and the American Choral Directors Association Children’s Honors
Chorus in the Southern, Southwestern, and Eastern Divisions. Ms. Gregoryk has received many
honors including Outstanding Arts Educator in the United States from the Rockefeller Brothers
Funds Awards in Arts Education, the Maryland Outstanding Elementary Music Educator Award, the Conservatory
Medal of Excellence from Shenandoah University, and the 2015 DC Area Choral Excellence “Ovation” Award for her
outstanding contributions to choral music.
Here is a letter from Ms. Gregoryk to help you with preparing your music:
Dear Colleagues and Choristers,
Congratulations to all the singers who have been selected for the 2017 ACDA National Honors Children’s Choir, and
thank you to all the conductors who prepared the audition tapes, and will be working with the choristers to help them
learn their music. I am so looking forward to meeting all of you on March 8 when we begin our rehearsals for our
exciting performances on Saturday, March 11.
All music must be memorized before the first rehearsal. Members of the audition committee will be checking
choristers in groups at the first rehearsal to make certain they know their music. Choristers, even though you will
have memorized the music, you should bring the scores with you in a music binder, as well as two sharpened pencils, to
rehearsals. The following notes should help you in your preparation of the scores. Please mark your own scores right
away so that you are rehearsing everything correctly, and we can use our rehearsals together to make the music come
alive through phrasing, work on intonation, style, time with the composers and coming together as a chorus. I know it
looks like a lot of little details, and it is, but hang in there and do the markings, and you will find you will understand
the music so much better.
I have had practice tapes prepared for the songs in foreign languages, which will be on the website with your vocal
parts. Because you have four songs in a foreign language, I would advise you to start immediately listening to the
practice tape, so that by March you will have had 4 months to learn and memorize the songs. Included with this letter is
the IPA (International Phonetic Alphabet) for each of the foreign languages, plus the English translation. In addition,
the performance recordings of each of the songs should help in your learning and memorization. I have also included at
least one Youtube performance of each piece, which will also be of help to you. Conductors, please feel free to email o
or call me if you have any questions about the preparation of the music. I love each of these pieces, and I hope you
come to really enjoy them, as well. Together, I believe we can prepare for a truly memorable concert!
1. Cantate Domino
Rupert Lang
- Please read the notes in the inside cover written by the composer. It is an interesting story, and he gives directions as to
how he would like specific sections to be performed.
- I will select a soprano and alto solo for this piece after the first rehearsal on Wednesday, March 8.
- The expressive markings are crucial to an artistic performance of this piece, as in the accents in the word Can-Ta-te Domi-no. Mark these with your pencils.
m. 20 I will indicate when each section should start speaking the “Laus eius in ecclesia,” in the following
order: Sop II, Alto II, Sop. I, Alto I.
m. 55-59 The vocal parts tape includes only 4 parts in this section, while the score calls for 9 parts. At our first
rehearsal, I will assign the additional pitches in each section.
The following is a Youtube link to a wonderful performance of “Cantate Domino.”
https://www.youtube.com/watch?v=X9mbGkCMjTE
2. Szello Zug
Lajos Bardos
- The first step in learning this beautiful song is to sing the parts on a neutral syllable such as “pah.”
- Then spend enough time listening and practicing with the Hungarian language tapes, so that when you do start singing
your parts, the Hungarian words won’t interfere with your singing the legato lines.
- The phrases are all two-bars, except in mm. 20-23 in the soprano part where there is a 4 bar phrase.
- As you sing the humming in the first 4-bar phrase, put the tip of your tongue behind your bottom teeth, close your lips,
and think a tall “Ah” in the back of your mouth. This will produce a lovely resonant humming sound.
- When you sing the “Bimm-bamm’s,” immediately after singing the “B” your mouth should be in the exact same position
as for the humming. Sustain the pitch on the “mm”s.
- Notice that most of the two-bar phrases have a crescendo/de-crescendo marking above them, which is very important in
the expression of the text. Use your pencils to go over these expressive markings
The following is a Youtube link to a wonderful performance of “Szello Zug.”
https://www.youtube.com/watch?v=Un4rzWmy61o
. Duet and Choral from Cantata # 93
Johann Sebastian Bach
-Dr. Doreen Rao, the editor and translator of this Bach Duet and Choral has included a very useful teaching guide on the
inside cover page, and talks about this being an example of a chorale cantata where the same melody may be heard in every
movement.
- To begin studying this work, sing the choral melody on the last two pages of the score on a neutral syllable such as “pah,”
and then look for the melody in the duet, which is played by unison strings.
- Then sing the A theme on a neutral syllable, starting in the soprano section in m.1, and look for, and sing this theme
whenever it occurs in both voice parts and in every key change. Put an x beside the A theme whenever it occurs- not only
in the voice part, but also the keyboard part.
- The B theme begins in m. 33 in the alto part. Look for the B theme in both voice parts and in the keyboard part, and put a
check by it every time it occurs.
- As with “Szello Zug,” it will be easiest for you to learn the music on a neutral syllable before singing the German text.
- As you can see from reading the English translation, the text expresses joy, and the almost dance-like rhythms of the
themes communicate that joy.
The following is a Youtube link to a wonderful performance of “Duet and Choral from Cantata #93.
https://www.youtube.com/watch?v=mEK57-JXhNk
The strings are playing the arrangement of the choral, with the melody played by the first violin. When we perform, we
will begin immediately with the duet, as heard on the performance recording.
Kalinka…………………………………………………………….arr. Joan Gregoryk
- Kalinka is considered one of the most famous Russian folk and folk-style songs in Russia.
- As you have done with the other songs in foreign languages, learn the music on a neutral syllable until you have
mastered the Russian language.
- This song is played at many hockey games when a Russian hockey player scores a goal.
- As you are reading the score, be certain to observe the breath marks. It is important to sing mm. 27- 30 on one breath.
- The following is a Youtube clip of a Russian chorus singing “Kalinka.” You will sing only the first two verses as
printed in the score: https://www.youtube.com/watch?v=_XxK2JJisEc
Snow Angel
Movement 3
Movement 4
Sarah Quartel
God Will Give Orders
Sweet Child
-
Sarah Quartel who wrote the words and music to Snow Angel said that it is “a five-movement work that explores
themes of love, rebirth, and beauty through the eyes of children and the heavenly army of angels that watch over them,
yearning to make a difference to their lives.” We will perform the third and fourth movements, which are contrasts in
style and tempo. I am so pleased that Sarah Quartel will be able to come to one of our rehearsals so that you can meet
her, and she will be in the audience for the performance!!
God Will Give Orders
-
The text for “God Will Give Orders” is sung in 4-bar phrases up to m. 27. Do not take a breath before the ‘ah’s’ at m.
29
. Take a breath before m. 33, and then stagger the breathing through m. 48. Take a breath before m. 53, and
then stagger the breath until m. 64. Take a breath before m. 73, and sing the next 7 measures with staggered breathing.
Every time you sing “about you,” make certain to sing a soft “t” and sing “you” and not “chew.”
When singing the word “father,” do not sing the “r” at the end of the word, but make it a schwa sound, more like “fathuh,” as sung in the performance
When singing the word “children,” ‘think’ the letter “l” so it sounds more like “chidren,” as sung in the performance.
When singing the word “angel,” sing “an-jell,” as sung in the performance.
Sweet Child
-
I will use an ensemble of the more mature voices to sing the solo line starting at m. 90. In the near future, I will send an
update about how these singers will be chosen.
-
When singing “sweet,” sing a soft and quick “t” before going to “child,” as sung in the performance.
The four part chorus is sung in 2-bar phrases, except for the last 4 measures of the song (m.123-126), which is a 4-bar
phrase.
The small group section beginning at m. 97 is sung straight through until m.104, using staggered breathing, and this
applies as well to m. 109-116
Here is an audio recording of these two movements:
http://www.sarahquartel.com/snow-angel.php
The Gift to Sing
Andrea Ramsey
- I am pleased to introduce you to this song, composed by American composer, Dr. Andrea Ramsey, and I am happy that
she will also be able to attend a rehearsal and the performance.
-The text for the song is this poem written by James Weldon Johnson, an author, educator, lawyer, diplomat,
songwriter, and civil rights activist:
Sometimes the mist overhangs my path,
And blackening clouds about me cling;
But, oh, I have a magic way
To turn the gloom to cheerful day—
I softly sing.
And if the way grows darker still,
Shadowed by Sorrow’s somber wing,
With glad defiance in my throat,
I pierce the darkness with a note,
And sing, and sing.
I brood not over the broken past,
Nor dread whatever time may bring;
No nights are dark, no days are long,
While in my heart there swells a song,
And I can sing.
-
-
Dr. Ramsey set the text in a gospel waltz style, which puts emphasis on the first word of each measure. She has
indicated this stress through the use of accent marks in the score on many of these first words. In the printed poem
above, I have underlined the first word or syllable in each measure, to help you get a feel for the rhythmic structure.
You will also hear this rhythmic emphasis in the performance recording.
The message of the text is a wonderful “shout out” to the power of music to “turn gloom to a cheerful day,” so our
choral diction needs to be very clear. In Gospel style, the consonants are the ends of phrases need not be so “clipped,”
so you will notice softer ending “t’s” in the recording.
Pay very close attention to the expressive markings in the score which contribute greatly to conveying the message of
the text.
The word “cloud,” contains a diphthong (two vowels on a single syllable, cl ah-ood) be certain to sing on the open
vowel “ah,” and don’t close to the “oo” sound until the very end.
There isn’t a Youtube video of this song available.
Boogie Woogie Bugle Boy
Raye and Prince
- Boogie Woogie Bugle Boy was a major hit tune during World War II, and was made famous by The Andrew Sisters
who were from Minneapolis. The Andrew Sisters are considered one of the most important musical acts to come out of
Minnesota.
-
The following is the Wikipedia post about the origin of the song:
According to the lyrics of the song, a renowned Chicago, Illinois, street musician is drafted into the U.S. Army
(presumably during the peacetime draft imposed by the Roosevelt administration). In addition to being famous, the
bugler was the "top man at his craft," but the army reduced his musical contributions to blowing the wake up call
(Reveille) in the morning. His not being able to play his usual chops depressed him: "It really brought him down,
because he couldn't jam." The Cap (An army captain — the company commander) was sympathetic and assembled a
band to keep the bugler company. Back in the saddle again, he infuses his style into reveille: "He blows it eight to the
bar...in boogie rhythm." His company is enthusiastic about his style too: "And now the company jumps when he plays
reveille." But, apparently the bugler can't get it done without his band, "He can't blow a note if the bass and guitar/Isn't
with him."
-
The style of the song is jump blues, an up tempo style of blues popular in the 1940’s, which evolved from the music of
big bands.
In the very near future I will be sending you a video of some simple movements that we can perform as we sing the
song. With 350 singers on stage, there won’t be much room for big motions!
The following is a Youtube clip of The Andrew Singers performing “Boogie Woogie Bugle Boy.” This is not the
arrangement you are learning.
https://www.youtube.com/watch?v=8of3uhG1tCI
International Phonetic Alphabet (IPA) Vowels
(Applied to Latin Repertoire)
IPA Vowel English Word IPA of
Symbol Example Word
a bop [bap]
ɛ bell [bɛl]
i beet [bit]
ɔ awe [ɔ]
u boot [but]
Vowels can be described as open or closed. Closed vowels are brighter and more focused, while
open vowels are slightly more relaxed.
Closed Open
i bee, deed ɪ bit, it
e bail, hail1 ɛ bell, well
u boot, food ʊ book, hook
o note, probe2 ɔ bawl, awe
Notes for Latin pronunciation:
1) The open “e” vowel ɛ is very high and close to the closed “e” sound. To avoid a
diphthong, put an “h” after it, or write the open symbol [ɛ].
2) With noted exceptions,3 each vowel has one distinct sound (no diphthong). Ex: “eo,”
“suo,” “eum,” “filiae,” “laus”: each vowel has a distinct sound and is not an amorphous
compilation of “e” and “o”. Be aware of the tendency to insert a third vowel sound (“y”)
between these two vowels, producing “ay-o” or a “w” between “u” and “o” in “suo.”
3) The “a” vowel is bright, like an Italian “a.”
4) [dʒ] is the English sound in “judge.”
5) [ʃ] is the “sh” sound.
6) “R” is flipped between two vowels and rolled at the beginning of words and if next to a
consonant (ex: flipped for “sanctorum” and leatatur” and rolled for “rege” and “Israel”).
7) “C” before “i” or [ɛ] is “ch”(ex: “fecit”).
8) “QU” = “kw” (ex: “qui”).
9) “D” and “T” are dry and not aspirated (think Spanish or Italian).
10) “L” is formed with the tip of the tongue, high and in the front of the mouth.
1 In English the closed e [e] is always sung as part of the diphthong [eɪ] as in the word “bail” [beɪ l]. That makes it
challenging for native English speakers to authentically sing foreign language words with the [e] sound. The key is
to keep the jaw from “chewing” the vowel.
2 In English when appearing in a stressed syllable, the closed “o” [o] is always sung as part of the diphthong [oʊ ] as
in the word “boat” [boʊt]. It does stand alone when appearing in an unstressed syllable, as in the word “obey”
[obeɪ ]. As with the [e] vowel above, in order to refrain from creating a diphthong when singing in a foreign
language, care must be taken not to allow the jaw to move. Sometimes writing an “h” after the “o” helps remind the
singer to maintain the vowel integrity.
3 Note that “ae” and “oe” each comprise a single vowel in Latin, pronounced as the open “e” [ɛ].
IPA for Cantate Domino by Rupert Lang
Latin Text
Cantate Domino!
Cantate Domino
canticum novum.
Laus eius in ecclesia,
in ecclesia sanctorum.
Laetatur Israel in eo,
Qui fecit eum:
et filiae Sion
exultent in rege suo.
IPA Transliteration
kantatɛ dɔminɔ
kantatɛ dɔminɔ
kantikum nɔvum
laus ɛius in ɛklɛzia
in ɛklɛzia sanktɔrum
lɛtatur izraɛl in ɛɔ
kwi fɛtʃit ɛum
ɛt filiɛ ziɔn
ɛksultɛnt in rɛdʒɛ suɔ
English Translation***
Sing to the Lord!
Sing to the Lord
a new song.
Praise Him in the sanctuary,
In the sanctuary of holiness.
Let Israel rejoice in it,
That which He has made:
and the children of Zion
exult in their Ruler.
***http://emmanuelmusic.org/notes_transl
ations/translations_motets/t_swv081_schut
z.htm
Prepared for Joan Gregoryk ACDA
©Amy Ayre 2016
International Phonetic Alphabet (IPA) Vowels
(Applied to German Repertoire)
IPA Vowel
Symbol
a
e
ɛ
i
ɪ
o
ɔ
u
ʊ
English Word
Example
ball
bait1
bet
beet
bit
boat2
awe
boot
book
IPA of
Word
[bal]
[beɪt]
[bɛt]
[bit]
[bɪt]
[boʊt]
[ɔ]
[but]
[bʊk]
Vowels can be described as open or closed. Closed vowels are brighter and more focused, while
open vowels are slightly more relaxed.
Closed
Open
i bee, deed
ɪ bit, it
e gate, late
ɛ bet, get3
u boot, food
ʊ book, hook
o note, probe
ɔ bawl, awe
German Vowels not found in English:
Y
lips form [ʊ], say [ɪ]
œ
lips form [ɔ], say [ɛ]
ä
[ɛ] as in “bet” or “get”
German Consonants not found in English:
ç
“H” sound in “huge” or “Hugo”
Notes for German pronunciation:
1) Consonants are important in German. Say them with conviction and clarity – no sliding
through them.
2) German closed vowels are VERY closed and their open vowels are closer to English
closed vowels, that is, high and not “dropped” as they are in English.
3) “R” is rolled.
4) [ɳ] is the “ng” sound in “ring” or “sing.”
1
In English the closed e [e] is always sung as part of the diphthong [eɪ] as in the word “bait” [beɪt]. That makes it
challenging for native English speakers to authentically sing foreign language words with the [e] sound. The key is
to keep the jaw from “chewing” the vowel.
2
In English when appearing in a stressed syllable, the closed “o” [o] is always sung as part of the diphthong [oʊ] as
in the word “boat” [boʊt]. It does stand alone when appearing in an unstressed syllable, as in the word “obey”
[obeɪ]. As with the [e] vowel above, in order to refrain from creating a diphthong when singing in a foreign
language, care must be taken not to allow the jaw to move. Sometimes writing an “h” after the “o” helps remind the
singer to maintain the vowel integrity.
3
The German open “e” sound is in a higher place than the American open “e”, which is “dropped” in placement.
The German [ɛ] is closer to the American closed “e” sound.
Prepared for Joan Gregoryk ACDA
©AmyAyre 2016
IPA for Duet and Choral (arr. Doreen Rao) from Bach’s Cantata No. 93
German Text
Er kennt die rechten Freudenstunden,
Er weiß wohl,
wenn es nützlich sei;
Wenn er uns nur hat treu erfunden
Und merket keine Heuchelei,
So kömmt Gott,
eh wir uns versehn,
Und lässet uns viel Guts geschehn.
IPA Transliteration
er kɛnt di rɛçtɛn frɔɪdɛnʃtʊndɛn
er vaɪs vol
vɛn ɛs nYtslɪç zaɪ
vɛn er ʊns nur hat trɔɪ erfʊndɛn
ʊnt mɛrkɛt kaɪnɛ hɔɪçɛlaɪ
zo kɶmt gɔt
e vir ʊns fɛrzen
ʊnt lɛsɛt ʊns fil guts gɛsçen
English Translation**
He knows the right time of joy,
He knows well,
when it is necessary;
If only He has found us faithful
and detects no hypocrisy,
then God comes,
before we are aware of Him,
and allows much good to befall us.
Sing, bet und geh auf Gottes Wegen,
Verricht das Deine nur getreu
Und trau des Himmels reichem Segen,
So wird er bei dir werden neu;
Denn welcher seine Zuversicht
Auf Gott setzt, den verlässt er nicht.
zɪɳ bɛt ʊnt ge auf gɔtɛs vegɛn
fɛrɪçt das daɪnɛ nur gɛtrɔɪ
ʊnt trau dɛs hɪmɛlz raɪçɛm zegɛn
zo virt er baɪ dir verdɛn nɔɪ
dɛn vɛlçɛr zaɪnɛ tsufɛrzɪçt
auf gɔt zetst den vɛrlɛst er nɪçt
Sing, pray and walk in God's ways,
just carry out your ways faithfully
and trust in heaven's rich blessing,
then it will be renewed in you;
for whoever places his confidence
in God, God will never abandon.
**http://emmanuelmusic.org/notes_transla
tions/translations_cantata/t_bwv093.htm
Prepared for Joan Gregoryk ACDA
©Amy Ayre 2016
Hungarian Pronunciation Guide
As applied to Szellő Zúg
(General note: in all Hungarian words the first syllable receives the stress, regardless of
diacritical marks over a given vowel)
Hungarian Letter
a1
á
e
é
i
o
ó
ő
u
ú, ű
g
j
r2
s (not with c or z)3
z (not with t or s)
h
Digraphs:
ly
sz
cs
gy
kd
zt
IPA symbol
[ɔ]
[ɑ]
[ɛ]
[e]4
[i]
contextual
[o]5
[ɶ]
[u]
[y]
[g]6
[j]
English equivalent
ought, awe
bop, hop
bet, get
bait, gate7
bee, see
[ʃ]
[z]
[h]
she, shy
zebra, zip
hot, hide
[ʎ]
[s]
[tʃ]
[dʒ]
[kt] at end of word
[st] at end of word (azt)
11
note, probe8
9
boot, food
10
get, frog
yes, yellow
see, set
church, chime
judge, nudge12
act, fact
lost, cost
Hungarian example
alskiz, bamm
távol, tábor
meg, megint
mélyén
megint, kis, bimm
távol, langol13, tabor14
jó, jól
szellő
látunk, falucskának
zúg, tűz, tűzet
lángol, hangja, harang15
jó, jól, hangja
tabor, tárad,16 rá17
pajtásom, kis, -gásnak
züg, tüzet
hangja, hallga
ilyet
szellő, alszik,visszhong18
csak, falucskának
rakd
azt
7
1
Distinguishing between
the two Hungarian “a’s”
is important and will
distinguish great choirs
from average ensembles.
2
At the beginning of
words it is rolled; at the
ends or in the middle it is
flipped.
3
Exception: visszhang.
See footnote 17.
4
Not super closed as it
would be in French or
German; closer to English
without the English
diphthong.
5
See footnote 4.
6
Always a hard g, even
after “n”.
But without the English
diphthong [I] elided at
the end.
8
But without the English
diphthong [u] elided at
the end.
9
No English equivalent.
French schwa; fleur, le,
de, etc.
10
No English equivalent.
French une.
11
No English equivalent.
It’s a quick, one syllable
glide. Italian gli:foglia
12
But it is very “dry”
with only a small
shadow [ʒ] and not much
excess air.
13
In these cases (“ol”), the
“o” is a schwa [ə].
14
Here the “o” is like [ɔ]. The
“o” here is equal to “o” in the
English word “or”.
15
The “g” is not as in the
English word “sing” but each
consonant – “n” and “g” – are
sounded.
16
Flipped.
17
Rolled.
18
The word visszhang is
pronounced [vis hɔng]. Here
the “sz” supersedes the single
“s”.
IPA for Szellő Zúg
Hungarian Text
Szellő zúg távol,
alszik a tábor.
Alszik a tábor,
csak a tűz lángol
Rakd meg,
rakd meg jó pajtás azt a tűzet,
Isten tudja,
mikor látunk megint ilyet.
IPA Transliteration~
sɛllɶ zyg tavəl
ɔlsik ɔ tabɔr
ɔlsik ɔ tabɔr
tʃɔk ɔ tuz langəl
rakt mɛg
rakt mɛg jo pɔjtas ɔst ɔ tyzɛt
istɛn tudjɔ
mikɔr latunk mɛgint iʎɛt
English Translation*
A breeze is blustering afar,
the camp is asleep.
The camp is asleep,
only the fire is burning
Good friend,
Good friend, keep that fire going,
God knows
when we'll see one another.
Szellőzúgásnak fárad a hangja,
Kis falucskának szól a harangja.
Halkan, halkan, szól a harang,
bimm-bamm, bimm-bomm,
Lelkűnk mélyén kel rá visszhang,
bim-bam, bim-bom, etc.
sɛllɶzygaʃnak farɔd ɔ hɔngjɔ
kiʃ fɔlutʃkanɔk sol ɔ hɔrɔngjɔ
hɔlkɔn, hɔlkɔn, sol ɔ hɔrɔng
bim bɔm bim bom
lɛlkynk meljen kɛl ra vishɔng
bim bɔm bim bom, etc.
The sound of the blustering breeze is
getting lower
The bell, the bell of the small village is
chiming softly
The bell chimes "bim-bam bim-bam"
The depth of our souls echoes "bimbam bim-bam."
~[ʎ] is the IPA symbol for a quick
glide of the [lj] sound. The [l] and
]j] sounds should not be separated
but should be treated as a single
sound.
*https://www.youtube.com/watch?v=liGi1B15N_Y
International Phonetic Alphabet (IPA) Vowels
(Applied to Russian Repertoire)
IPA Vowel
Symbol
ɑ
e
ɛ
i
ɪ
o
ɔ
u
ʊ
English Word
Example
ball
bait
bet
beet
bit
boat
awe
boot
book
IPA of
Word
[bɑl]
[beɪt]
[bɛt]
[bit]
[bɪt]
[boʊt]
[ɔ]
[but]
[bʊk]
Vowels can be described as open or closed. Closed vowels are brighter and more focused, while
open vowels are slightly more relaxed.
Closed
Open
i bee, deed
ɪ bit, it
e gate, late
ɛ bet, get
u boot, food
ʊ book, hook
o note, probe
ɔ bawl, awe
Russian Consonants not found in English:
ʎ
Quick glide of the [lj] sounds. The [l] and ]j] sounds should not be separated but should
be treated as a single sound.
Notes for Russian pronunciation:
1) Consonants are important in this piece. Say them with conviction and clarity – no sliding
through them.
2) Russian vowels are very dark.
3) [ʒ] is the sound in “azure” or “genre.”
4) [ʃ] is the “sh” sound.
5) [j] is the “y” sound in “yes.”
6) [ɳ] is the “ng” sound in “ring” or “sing.”
Prepared for Joan Gregoryk ACDA
©AmyAyre 2016
IPA for Kalinka (arr. Joan Gregoryk)
Russian Text
Kalinka, kalinka,
kalinka maya! Ah!
Fsadu yagoda malinka,
malinka maya! Ah!
IPA Transliteration~
kɑʎiɳkɑ kɑʎiɳkɑ
kɑʎiɳkɑ mɑjɑ ɑ
fsɑdu yɑgɔdɑ mɑʎiɳkɑ
mɑʎliɳkɑ mɑyɑ ɑ
English Translation****
Little snowberry^, little snowberry,
little snowberry of mine!
In the garden (there is a) little raspberry,
my little raspberry! Ah!
Pod sosnoyu,
Pod zelyenoyu,
Spatj pola zhitiye vi menya, Ah!
Ailiuli liuli.
pɔd sɔsnɔju
pɔd zɛljɛnɔju
spɑtj pɔlɑ ʒitijɛ vi mɛnjɑ, ɑ
ɑiliuli liuli
Under the pine,
The green one,
Lay me down to sleep, Ah!
Ah lully lully.
Sosyonushka, ti zelyenaya,
Nye schumizhe nada mnoi. Ah!
sɔsjɔnuʃkɑ ti zɛljɛnɑjɑ
njɛ ʃumiʒə nɑdɑ mnɔi ɑ
Little pine, little green one,
Don't rustle above me. Ah!
~[ʎ] is the IPA symbol for a
quick glide of the [lj] sound. The
[l] and ]j] sounds should not be
separated but should be treated as
a single sound.
****http://www.moscow-russia-insidersguide.com/kalinka-malinka.html
^According to the above website, “kalina” is a
viburnum bush and “ka” means “little,” so
literally “kalinka” is “little virburnum bush.”
Prepared for Joan Gregoryk ACDA
©Amy Ayre 2016
2017 NATIONAL ACDA HONOR CHOIRS
DOWNTOWN MINNEAPOLIS SITE MAP
CHILDREN’S
HONOR CHOIR
WALK-TO
DINING
HYATT REGENCY
1300 NICOLLET MALL
WITHIN 2 BLOCKS
4 BLOCKS CONTINUED
6 BLOCKS CONTINUED
Brit’s Pub
1110 Nicollet Mall | 612.332.3908
British $$
Hell’s Kitchen
80 South 9th St | 612.332.4700
American $$
Crave
825 Hennepin Ave | 612.332.1133
American (L)$$ / (D)$$$
French Corner Bistro & Bakery
1200 Nicollet Mall | 612.345.7770
French $ - $$
Ling and Louie’s
http://www.lingandlouies.com/
921 Nicollet Mall | 612.351.1234
Asian $$
Key’s Café
http://www.keysfoshay.com/
114 South 9th St | 612.339.6399
American $
The Local
931 Nicollet Mall | 612.904.1000
Irish $$
Manny’s Steakhouse - W HOTEL
825 Marquette Ave S | 612.339.9900
Steakhouse $$$$
Loring Kitchen & Bar
1359 Willow St | 612.843.0400
American $-$$
The Melting Pot
www.meltingpot.com/minneapolis
80 South 9th St | 612.338.9900
Fondue $$$ Reservations highly recommended
Ichiban Japanese Steak House
www.lakeviewhotels.com/restaurants/ichibanminneapolis/
1333 Nicollet Mall | 612.339.0540
Japanese $$$
Lot 57 - DOUBLETREE
1101 LaSalle Ave | 612.332.3908
American $$
Marin - LEMERIDIEN CHAMBERS
901 Hennepin Ave | 612.767.6960
American $ - $$$
Market Bar-B-Que
1414 Nicollet Ave S | 612.872.1111
Barbeque $$
McCormick & Schmick’s
800 Nicollet Mall | 612.338.3300
Seafood $$
North 45 Restaurant and Lounge
1313 Nicollet Mall – Millennium
American $$ | 612.332.6000
Monello
1115 2nd Ave S. | 612.353.6207
Italian $$-$$$
Ping’s Szechuan
1401 Nicollet Ave S | 612.874.9404
Asian $$
The News Room
990 Nicollet Mall | 612.343.0073
American $$
Prairie Kitchen & Bar - HYATT REGENCY
www.prairiekitchenandbar.com
1300 Nicollet Mall | 612.596.4640
Minnesota Flair $$$
Salsa a la Salsa
1420 Nicollet Ave | 612.813.1970
Mexican $$
Skywater Cuisine & Cocktails Restaurant
1001 Marquette Avenue – Hilton
American $$ | 612.376.1000
8th Street Grill
800 Marquette Ave | 612.349.5717
American $
Buca di Beppo
www.bucadibeppo.com
1204 Harmon Place | 612.341.9178
Italian $$
Basil’s
www.basilsminneapolis.com
710 Marquette Ave | 612.376.7404
American $$$
Dakota Jazz
1010 Nicollet Mall | 612.332.1010
American $$
$ = Less than $10
Ruth’s Chris Steak House
920 2nd Ave S | 612.672.9000
Steakhouse $$$
The Third Bird
1612 Harmon Place | 612.767.9495
Innovative Southern $-$$$
Zelo
831 Nicollet Mall | 612.333.7000
New Italian $$$
WITHIN 8 BLOCKS
WITHIN 6 BLOCKS
WITHIN 4 BLOCKS
Pricing Guide
Mission American Kitchen - IDS CTR
www.missionamerican.com
77 South 7th St | 612.338.4700
American $$$
$$ = $10-$20
FREE APPETIZER
OR DESSERT
$$$ = $20-$30
$$$$ = More than $30
10% OFF BILL
BANK - THE WESTIN
88 South 6th St | 612.656.3255
American $$$
Borough Minneapolis
730 N Washington Ave | 612.354.3135
Menu Changes Seasonally $-$$$
Updated: 01/18/16
FREE DRINK
** Must be presented at time of purchase. May not be combined with any other coupon, discount or promotion. Exclusions and limitations may apply.
**DEALS ARE EFFECTIVE THRU 12-31-16.
Millennium
Grant St
Wesley
Church
Plaza
Holiday
Inn
Express
Minneapolis
Convention
Center
3rd
Ave
S
Old
Armory
S
Por
tl
6th
St
Ameriprise
Service
Center
S
7th
St
tte
Ave
Best
Western
Me
94
S
8th
St
Ave
S
Centre Village
Energy
Ctr
S
Ave
all
llet
M
Ave
S
11t
h St
5th
St
S
HCMC
Commuter Connection
commuter-connection.org
Hour Car Location
hourcar.org
S
Parking Ramps with Carpool
Discounts, Bike Lockers & Showers
Century
Plaza
abc-ramps.com
Hilton
Garden
Inn
Skyways
Tunnels
Central City (2 mile loop)
Central
Lutheran
Church
TCF (1 mile loop)
City Hall to Target Center (.7 mile)
Foshay to Convention Center (.5 mile)
Brought to you by
S
Ave
Hotel Ivy
Thrivent
Financial
Accenture
4th
St
Public
Safety
Facility
Govt
Ctr Ramp
Government
Center
3rd
Leamington
Transit Hub
11th &
Marquette
Mar
que
t
Hyatt
Regency
Orchestra
Hall
10t
h St
Government
Plaza Station
Chic
ago
S
Campbell
Mithun
9th
St
Hilton
Peavey
Plaza
te A
ve
Lori
ay
ng Greenw
Intl
Ctr
Kinard
3rd Ave S
l
Mal
Nico
llet
12t
h St
AT&T
Target
Commons
WCCO
S
701
Ave
S
Young
Quinlan
Target
Plaza
Ameriprise
TCF
Foshay
Gateway
Ramp
Grain
Exchange
Capella
Tower
McGladrey
Plaza
2nd
St.
Thomas
LaS
alle
Ave
Ha
Baker
Building
US
Bancorp
Medical
Arts Bldg
North
Star
Federal
Courthouse
Century City
Link Hall
US Bank
Plaza
S
n Av
e
3rd
St
Tritech
Center
Ave
S
Av
e
IDS
Target
Store
Hotel
Mpls
5th St
Towers
Canadian
Pacific
Tower
Wells
Fargo
Macys
LaSalle
Plaza
in
nep
Hen
n
rmo
Nico
Radisson
Plaza
da
Orpheum
50 S
6th RBC
Plaza
gto
2nd
St
The
Depot
Public
Service Ctr
Ave
S
8th
St
N
Bus
Depot
Towle
Bldg
Nicollet
Mall Station
City
Center
hS
tN
Lumber
Exch
Plymouth
Bldg
The
Crossings
4th
1st
Av
eN
Block
7t E
Ritz
Lot
Wa
shin
y
The
Carlyle
Federal
Office
Building
Marquette
Plaza
Mar
que
N
St
6th
Target
Center
100
Washington
Square
Pk
w
and
He
nn
ep
in
Hennepin
Ave Station
ING
S
Riv
er
Park
Av
e
N
St
4th
N
St
5th
N
St
7th
Butler
Square
Churchill
Apts
Cancer
Survivors
Park
Library
1st
St
5th
Av
eN
S K Y WAY S
3rd
Target
Field
W
Av
e
3rd M I N N E A P O L I S
St
N
Av
eN
N
si
Riv ssipp
er i
Post Office
D O W NN T O W N
2n
d
Target Field
Station
ton
2nd
Ave
S
ng
1st
Av
Wa
shi
US Bank Plaza 220 South Sixth Street Suite 230
www.commuter-connection.org
LRT
Print,Complete&
MailtoCoordinator
CHC
ACDAisofferingalloftheacceptedsingersat-shirtforfree.Thesizeswerealreadyrequestedandinputtedatthe
auditionprocessonline.Inadditiontothefreeshirtsthesingersreceive,wearealsomakingavariationofthet-shirt
availabletoparents,chaperones,teachers,familymembers,etc.thatwouldliketopurchasethem.Ifyouareinterested,
youcanorderasmanyasyoulike.Clarifywhichsizeyouwant(notethereareyouthandadultsizes)andwewillhave
theseforyouonsite.PaymentcanbemadeviacheckorcreditcardandneedtobeorderednolaterthanDecember10th
usingthisform.
NameofAcceptedHonorChoirSinger:
CircletheHonorChoiroftheSinger:
Children
Jr.High/MiddleSchool SeniorHighSchool
CollegiateUnityChoir
Iwouldliketoorder_______additionalt-shirtsat$12each,foratotalof$_________,inthefollowingsizes:
YS
YM
YL
YXL
S
M
L
XL
2XL
3XL
___Iampayingbycheck(payabletoACDA).Mycheck#is_________________.
___Iampayingbycreditcard(VisaorMastercardonly).
Mycreditcard#is:
ExpirationDate:
CCV#: CHC
Print,Complete&
MailtoCoordinator
InordertopayforyourHonorChoirRegistration,pleasesubmitthisformalongwithpayment($120),intheformofa
check(canbeaschoolcheckorapersonalcheck)ormoneyorderpayabletoACDA.Ifyouprefertouseacreditcardfor
payment,pleasecompletetheappropriateinformationrequiredbelow.
NameofAcceptedHonorChoirSinger:
CircletheHonorChoiroftheSinger:
Children
Jr.High/MiddleSchool SeniorHighSchool
CollegiateUnityChoir
___Iampayingbycheck(payabletoACDA).Mycheck#is_________________.
___Iampayingbycreditcard(VisaorMastercardonly).
Mycreditcard#is:
ExpirationDate:
CCV#: CHC
ACDA HONOR CHOIRS 2017
PERMISSION FOR MEDICAL TREATMENT
(parents may not notarize their child’s form)
Print,Complete&
MailtoCoordinator
I/We, the undersigned, being the parent, legal next-of-kin, or legal guardian of:
_______________________________________ ________________________________________________
(Student's Last Name)
(Students’ First Name)
(Birth Date)
hereby authorize emergency medical treatment for this person beginning March 8th, 2017 and continuing
through March 11th, 2017. I/We acknowledge the liability for medical expenses, hospital expenses or
other such charges incurred for such services as may be rendered for or on behalf of my/our child as a
result of injury or sickness. I/We will assume financial responsibility for the incurred expenses through
the insurance company listed below.
MEDICAL INSURANCE INFORMATION
________________________________
Insurance Company
______________________________
Student's Physician's Name
________________________________
Policy Number
______________________________
Physician Phone
________________________________
Company Address
Medication and/or food allergies, pertinent medical information, scheduled medications (what should our on site
managers know about your child?):
___________________________________________________________________________________________
___________________________________________________________________________________________
PARENT/GUARDIAN INFORMATION
____________________________________________________
Parent/Guardian Names (please print)
___________________________________________
Home Address
________________________________________
City, State, ZIP
_____________________________ ___________________________ ________________________
Home Phone
Work Phone 1
Work Phone 2
________________________________
Parent/Guardian Cell Phone
______________________________
Parent/Guardian Cell Phone
THIS FORM MUST BE NOTARIZED BEFORE SUBMISSION.
FORMS THAT ARE NOT NOTARIZED WILL BE RETURNED.
__________________________________________________________
Parent/Guardian Signature
______________________________
My Commission Expires:
Notary Public
Personally known ______ or Produced Identification _______
Type of Identification Produced__________________________________
Print,Complete&
MailtoCoordinator
CHC
ACDA HONOR CHOIRS 2017
SINGER/CHAPERONE INFORMATION & PARTICIPATION AGREEMENT
SINGER LAST NAME _______________________________________________________________________
SINGER FIRST NAME _______________________________________________________________________
SINGER PREFERRED E-MAIL _________________________________________________________________
SINGER MOBILE PHONE NUMBER ____________________________________________________________
CHAPERONE LAST NAME ___________________________________________________________________
CHAPERONE FIRST NAME __________________________________________________________________
CHAPERONE PREFERRED E-MAIL
_____________________________________________________________
CHAPERONE MOBILE PHONE NUMBER
________________________________________________________
PARTICIPATION AGREEMENT: I/We, the undersigned, agree to the following stipulations and rules
for participation in the 2017 ACDA Honor Choirs:
1) Singers, their parent/guardian(s), and their sponsoring ACDA member have read all the ACDA Honor
Choirs information and agree to the information contained therein.
2) Singers and chaperones agree to stay in their designated chorus’ hotel. Singers who do not stay in their
designated hotel may be unable to perform.
3) Singers must return all necessary paperwork and registration fee to the Honor Choir Coordinator by
December 10, 2016. Failure to submit in a timely manner will result in removal from the choir.
4) Singers will arrive at the convention site with their music fully prepared. Singers who are not
adequately prepared will be unable to perform and will be labeled an “audit.” Music and part-learning
materials will be provided to singers.
5) Singers agree to attend all rehearsals as stated in the final rehearsal schedule. Singers who are tardy or
miss rehearsal will be unable to perform and will be labeled an “audit.”
6) ACDA will provide supervision for singers only during posted rehearsal times.
7) Singers will adhere to the following policies:
- A “lights out” curfew of 11:00 pm will be in place for all singers OR one hour after the end of
the evening performance, if attended. Choir managers may adjust curfews times as needed.
- Singers of opposite genders will not be in hotel rooms together without chaperone supervision.
- Singers will be respectful of other hotel guests and abide by hotel rules as posted and as stipulated
by their choir coordinator, ACDA member sponsor, or chaperone.
- Singers will not engage in illegal activity, including the use of alcohol, tobacco, or other controlled
substances, or they will be immediately removed from the ACDA Honor Choirs and sent home
at their parent/guardian’s expense.
8) Singers are responsible for the financial obligations listed below. All monies submitted are non-refundable.
- Conference registration fee (includes music, t-shirt, part-learning materials, and bus transportation)
- Hotel lodging at the designated hotel
- Meals and transportation, including travel to Minneapolis.
ACDA HONOR CHOIRS 2017
Print,Complete&
MailtoCoordinator
RELEASE, INDEMNITY AND AUTHORIZATION TO PHOTOGRAPH, RECORD AND
REPRODUCE
EVENT: 2017 ACDA Honor Choirs DATES: March 8th-11th, 2017
In consideration of the acceptance of my participation in the Event described above, I agree to the
following:
I AGREE TO ASSUME THE RISKS incidental to participation in the Event and, on my own behalf, and
on behalf of my heirs, executors and administrators, RELEASE and forever discharge the ACDA, of and
from all liabilities, claims, actions, damages, costs or expenses of any nature arising out of or in any way
connected with my participation in such activity, and further agree to indemnify and hold the ACDA
harmless against any and all such liabilities, claims, actions, damages, costs or expenses, including, but
not limited to, attorneys’ and other professionals’ fees and disbursements. I understand that this release
and indemnity agreement includes, without limitation, any claims caused or suffered by me and any
claims based on the negligence, action or inaction of the ACDA and covers bodily injury (including death)
and property damage, loss or theft (including any personal property I may bring to the Event whether or
not used in conjunction with the Event), whether caused or suffered by me before, during, or after such
participation. I further authorize first aid or other medical treatment for myself, at my cost; however, it is
acknowledged that the ACDA shall have no duty, obligation or liability arising out of the provision of, or
failure to provide, first aid or other treatment.
I grant the ACDA the right and exclusive license to make, edit and modify, use and re-use, reproductions,
photographs, and recordings (audio, visual and audio-visual) of the likeness, voice and sounds of me at the
Event, as well as my name and biographical information, in any manner the ACDA may desire, in all
forms and media, whether now known or hereafter devised, through-out the universe, in perpetuity,
without the need to obtain further authorization or consent from myself, without additional compensation
to myself or subject to any condition, reservation or limitation whatsoever (collectively, the “Reproduction
Rights”). The ACDA shall not have any obligation to exercise or exploit any of the Reproduction Rights
nor shall the ACDA have any obligation to accord me any credit in connection to any use of the
Reproduction Rights. Each photography, videotape, recording or other work, created by or resulting from
the making, editing, modifying, re-use, exercise or exploitation of the Reproduction Rights shall be a work
for hire, the ACDA shall be deemed the sole owner of all Reproduction Rights, including any copyright
and/or trade-mark rights (and all related applications, registrations and renewals) and, without limiting the
foregoing, I assign to ACDA all Reproduction Rights. I agree to comply with any Event rules or other
directions or instructions given to me by the ACDA.
As used in this release and indemnity agreement (this “Agreement”), “the ACDA” shall mean the
American Choral Directors Association and all its subsidiaries, components and representatives. I
represent and warrant to the ACDA that I am 18 years of age or older and that I have the full right, power,
capacity and authority to execute this Agreement on behalf of myself and, if applicable, as the parent/legal
guardian of any minor child(ren) identified below for the purposes of this Agreement. I acknowledge that I
shall not receive, or be entitled to receive, any payment, compensation or consideration in connection with
the Event, this Agreement, or the ACDA’s exercise of the Reproduction Rights it being understood that
the ACDA is relying on this Agreement as a material inducement in accepting my participation.
CHC
Print,Complete&
MailtoCoordinator
No union, guild or any other such association or group has the jurisdiction over this Agreement or my
participation in the Event and this Agreement shall not be submitted to, or subject to, certification or
approval by any such organization. The ACDA’s rights, including Reproduction Rights, shall be free of
any residual impairment, obligations or costs. This Agreement shall be binding upon me and my heirs,
personal representatives and assigns, and shall be governed by the laws of the State of Minnesota without
regard to conflicts of law principles. This Agreement constitutes the entire agreement among the parties
with respect to the subject matter of this Agreement and supersedes any and all previous agreements
among the parties, whether written or oral, with respect to such subject matter.
I hereby consent, agree to and ratify the terms of this Agreement as the parent/legal guardian of the minor
child(ren) identified below, in which case “I,” “me,” “my,” and “myself” as used herein shall jointly and
severally refer to said minor child(ren) and me as the parent/legal guardian of such child(ren) and, without
limiting the terms of this Agreement, I will also indemnify and hold the ACDA harmless from any claim,
liability, loss or expense of any kind arising out of any contest, challenge, disaffirmation or revocation of
this Agreement.
__________________________________________________________ __________________________
Signature of Parent/Legal Guardian
_______________________________________________________________
PRINT name of minor Event participant
Date