Choir Ninja, with Ryan Guth

Latest Episodes:

Be a Part of the Dialogue (part 2), with Justin Caithaml Jul 07, 2017

Show notes

Your music program probably didn’t come with an instruction manual, which is a shame. Fret not, because Justin Caithaml has a list of tools to supercharge your program. These aren’t just teaching tips. This is an explanation of national programs that can impact your choir, and some ways to get school-wide recognition and appreciation for your choir. Listen: Highlight to Tweet: “It’s the music that makes me come to school each day.” - Justin Caithaml’s student Show Notes:

Consider starting a chapter of the Tri M Music Honors Society.
“Music In Our Schools Month” is March.
At the beginning of the year publish a Music Department flyer with all concert dates for the year.
A school-wide assembly for the choir to give a concert to the entire student body.
Start your first choir rehearsal with the writing prompt: “It’s the music that….”

Bio: Justin Caithaml graduated Magna Cum Laude from Baldwin Wallace University in 2014 with a Bachelor of Music Education degree. He currently serves as Choir Director for grades 7-12 at Midview Local Schools, west of Cleveland. In addition, he serves as choir director at Bethel Lutheran Church and is the state advisor for the Tri-M Music Honor Society. He is a board member at the Ohio Alliance for Arts Education and is also a member of the Collaborative for Arts Education in Ohio. An Ohio native, he is a 2010 graduate of Midview High School, where he was a recipient of the National School Choral Award. Resources/links Mentioned:

Matters in the Arts (Justin’s blog)
Tri M Music Honors Society
Music in Our Schools Month
Choir Nation group on Facebook
Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

Be a Part of the Dialogue, with Justin Caithaml Jul 05, 2017

Show notes

The best thing we can do for our music education programs is to be actively involved in the discussions that shape our standards. Don’t just respond to decisions that other people make without the benefit of an arts advocate guiding them. In this episode Justin deconstructs the Every Student Succeeds Act, No Child Left Behind, Common Core, and the mysteries of speaking your administration’s language. Listen: Highlight to Tweet: “It’s easy to feel unappreciated….It’s easy to turn negative. The challenge becomes not letting those thing flips the switch in your brain, and maintaining the momentum you’ve already established.” - Justin Caithaml Show Notes:

In the Every Student Succeeds Act (ESSA) music is listed as its own subject for a well rounded education (for the first time). Federal law now backs you up when you advocate for music education.
Be aware of your state’s response to the legislation. Be informed, so that you can be an effective advocate.
Find out how your administration is responding to the ESSA.
In the 19080’s, when the “A Nation at Risk” report came out, the arts community slow to respond. National standards were not set until the 90’s. We need to be actively involved with the ESSA rollout and implementation, not responding years later to the decisions other people have made.
How can we communicate the skills we are teaching like other subjects, without compromising the integrity of our own? Our administrators likely do not have fluency in our subject or its language. We are the translators.
Find ways to uses tools (Sight REading Factory, self-assessment rubrics) to meet standards using the language your administration uses.
Make use of your opportunities (like concerts) to explain how what they are hearing reflects a standard they have achieved.

Everything ESSA
ESSA and the arts
Strong Arts, Strong Schools: The Promising Potential and Shortsighted Disregard of the Arts in American Schooling, by Charles Fowler
Valuing Music in Education: A Charles Fowler Reader, Edited with critical commentary by Craig Resta
Choir Nation group on Facebook
Email Patreon - Support the podcast!

How to Flirt, with mostly Stevie Berryman Jul 01, 2017

Show notes

Exactly what it says on the tin. In addition to refining your game, you will also discover how the principles of flirtation can be applied to your performances. It’s about caring as much for the context of your performance as the content. It’s also about WikiHow, movie heroes, Stevie’s wedding, pick up lines, Steve Martin, gig boxes, henchmen, and how Ryan picked up his fiancée Amanda. Listen: Highlight to Tweet: “I love the concept of performance as a conversation...most of the time, our performances are monologues.” -Stevie Berryman “Boom! I stole your point, Stevie!” - Ryan Guth Show Notes:

How to Flirt, according to WikiHow
- Make eye contact.
- Smile.
- Start a conversation.
- Keep it playful.
- Compliment them.
- Craft a pick-up line.
How to Run a Con
1. Smile
2. Get them to say “yes” to something
3. Give them something
4. Ask for what you want (be specific), but make it sound like you are doing them a favor.
The qualities of Bond
- Confidence = preparation
- Appearance = planning
- Energy = work
- Focus = eliminating distractions

Bio: Stevie Berryman is shockingly good at video games. She can fold a fitted sheet so it looks like it came right out of the package. Likewise, her skills as music director and teacher have also been acquired through long hours of arduous and dedicated practice. For much of her career Stevie has directed seven or more ensembles each week, meaning she has 98 years of experience (in dog years). Her effusive energy and wild creativity found a perfect setting in 2013 when she became the Artistic Director of the Houston Chamber Ringers, which has let her smash together her love for music, laughter, and tacos in a truly remarkable way. She has a particular passion for teaching children how to ring, and her innovative methods have made her a sought after educator at area and national handbell festivals. Stevie loves helping other choirs as a private clinician, or planning epic concerts for them as a creative consultant. Her next step in global domination is to take over the choral world, which is a side bonus of her job as Chief Awesomeness Officer at the Choir Ninja Podcast. Resources/links Mentioned:

http://www.wikihow.com/Flirt
Joe Miller, Westminster Choir
LA Master Chorale
Captivate by Vanessa Van Edwards
Follow Stevie on Facebook: Stevie Be Music
Choir Nation group on Facebook
Email Patreon - Support the podcast!
The happy couple, 1994. Totes adorbs.

The Care and Feeding of Contemporary A Cappella Ensembles, with Dr. J.D. Frizzell Jun 23, 2017

Show notes

This is the complete toolkit. So you just need to do two things. 1.) Listen to this episode. 2.) Start your own contemporary a cappella ensemble (vocal band). J. D. Frizzell outlines every why, how, and what you need to know to bring this insanely popular vocal experience to your school. Listen: Highlight to Tweet: “Everybody in the area of a cappella education is very open and helpful, so please reach out to us” - J.D. Frizzell Show Notes:

Contemporary a cappella = a vocal band. It performs popular music, singing the instrumental and percussion lines in addition to the lyrics.
Contemporary a cappella is a valuable tool for smaller schools to engage students in choir. It is excellent for recruiting students, but also for engaging your audience.
This style of singing helps drill essential singing skills: pitch, rhythm, tone, diction, etc.
You have several options for music: buy published charts, arrange it yourself, or get others to arrange for you.
Vocal percussion: look for a student who can be consistent with their sounds, consistently producing quality sounds, and then...practice. Student needs a solid sense of tempo.
Mics, sound systems are great, but not mandatory when starting out. There are lots of good options, and no single right answer to the question, “What should I buy?”.

Bio: J.D. Frizzell is the Director of Fine Arts at Briarcrest Christian School in Memphis, TN. He graduated in May 2017 with a doctorate in choral conducting from The University of Kentucky. J.D. has had best selling compositions around the world, with music published by Santa Barbara, Lorenz, Heritage, Colla Voce, Alfred, and others. A leader in the contemporary a cappella movement, he's the co-founder and President of The A Cappella Education Association. His group OneVoice has been on America's Got Talent, performed at ACDA, collaborated with The Swingles and New York Voices, won the Macy's All-School A Cappella Challenge judged by Pentatonix, and recorded with SONY. Resources/links Mentioned:

A Cappella How
Better A Cappella
Deke Sharon at Total Vocal
Robert Dietz
Ben Bram
A Cappella Psyche
Random Notes
The Vocal Company
Camp A Cappella
A Cappella Warm Ups for Pop Choirs, by J. D. Frizzell
One Voice
Jdfrizzell.com
A Cappella Education Association
The National A Cappella convention
Choir Nation group on Facebook
Email Patreon - Support the podcast!

The Three C’s of Managing Parents, with Dr. J.D. Frizzell Jun 20, 2017

Show notes

Something happened on the way to the a cappella ensemble. Composer and conductor J.D. Frizzell has some wisdom to share about building relationships with your singers and their parents, and how to maintain a supportive choir program. So before they settle into discussing the mechanics of starting an a cappella ensemble from scratch (catch that episode on Friday), Ryan and J.D. talk about One Voice, Maroon 5, babies, and explosions. Listen: Highlight to Tweet: “Ryan, it was like the school exploded, from the inside out.” - J.D. Frizzell Show Notes:

Dr. Frizzell started with what he knew, a jazz ensemble. When that didn’t catch on the way he wanted, he tried a cappella, and it was an instant hit.
The students connected strongly with the material, and were eager to practice it on their own.
Their desire to get every nuance of their music right has also transformed the rest of the choir program, as those students bring that same drive and work ethic with them to rehearsal with other choirs.
A successful a cappella group could breed resentment. Head that off by being equally invested and present with each of your ensembles.
Parents want and need to know that you are competent, in control, and that you care. If they know those “3 C’s,” parents will be your assets and allies.

10 things I learned as a veteran director in a new school, with Ryan Guth Jun 13, 2017

Show notes

Ryan looks back on lessons learned this past year as a choir teacher in a new school/state/culture. This is a must listen for anyone...novice or veteran...who is entering a new classroom (or any choir podium). You might want to make sure you listen to the whole thing. Allllll the way to the end. Listen: Highlight to Tweet: “Wait...can we just end it like that...awkward silence...and then just go to your tag? Could we do that?” - Stevie Berryman Show Notes:

Keep your ambition in check. (Don’t make changes too soon.)
Trust takes time.
Talk less, sing more.
Concerts are your time to establish yourself in the community.
Choose your battles.
New school (state) = New culture
Create non-classroom bonding experiences.
Embrace your predecessor.
Don’t compare your new students to your former students.
Don’t compare yourself to the previous director.

Resources/links Mentioned:

Choir Nation group on Facebook
Email Patreon - Support the podcast!

Choir Ninja Rewind: Sell out your concerts and create raving fans, with Stevie Berryman Jun 11, 2017

Show notes

Since she’s away at choir camp, it’s “Stevie Week” on the Choir Ninja podcast. Today’s episode is a re-airing of one of our top episodes of the Find Your Forte podcast. Stevie Berryman, of Stevie Be Music, explains how she goes beyond programming to create concert experiences that entertain, sell out, and create raving fans. She gives examples of her own concert experiences and breaks down the essential elements. Listen: Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

Choir Ninja Rewind: 5 considerations for writing a bio people actually care about, with Stevie Berryman Jun 06, 2017

Show notes

Since she’s away at choir camp, it’s “Stevie Week” on the Choir Ninja podcast. Today’s episode is a re-airing of one of our top Technique Tuesdays from the Find Your Forte podcast. It’s about how to write a bio that makes audiences root for you before you even step foot on stage. This one is perfect for conductors, teachers, and performers alike. Enjoy! Listen: Show Notes: Ready to write your own? Here’s how to do it: Step 1: Know who you are. That is not the same as knowing what you do. This is about identifying your brand, whatever it is that makes you special. If you cannot articulate in a few clear sentences exactly who you are, then you need to go back and listen to Technique Tuesday episode 16, where Ryan explains how to find your “Why.” Step 2: List your wins. You are good at something that no one will ever give you an award for. Make a list. Maybe you make a great martini. Maybe you are ambidextrous. Maybe you once performed an original kazoo solo in a talent show. Don’t tell us the things you are best at; tell us about those things that best reveal your brand. Step 3: Consider your flaws. Vulnerability can be very attractive. This isn’t therapy, or confession; it’s just a time to acknowledge that you are a complete human, which means you aren’t perfect. Step 4: Think non-linearly. This doesn’t mean to slice up your regular bio, shuffle all your achievements, then deal them out randomly. It just means focus on balance rather than chronology. Take some bad with the good, some serious with the fun. Step 5: Delete something. Coco Chanel infamously recommended, “Before leaving the house, a lady should stop, look in the mirror, and remove one piece of jewelry.” Once you’ve written your bio, go back and delete something. Maybe two somethings. Your bio is too long. I don’t even have to look at it to know it’s too long. It’s a fact: no one is as interested in you as you are. Make it shorter, please. 3 Key Takeaways:

Do the best you can, and realize the eye rolls aren’t about you.
See their behavior as their pain.
Consistently model the respect and behavior you want them to reflect back at you.

Biography: Stevie Berryman has served as the Conductor and Artistic Director of the Houston Chamber Ringers since August 2013. She is the Director of Handbells and Children’s Music at Kinsmen Lutheran Church in Houston and assists with the fourth grade chimes choirs at Frank Elementary School. Stevie began ringing handbells over 20 years ago as a founding member of the Soli Deo Gloria Youth Handbell Choir at St. Stephen’s UMC in Broken Arrow, OK. She’s been ringing ever since all over the country, and is a former member of the Houston Bronze Ensemble. She has a particular passion for teaching children how to ring, and her innovative methods have made her a sought after educator at handbell festivals and in private clinics. Stevie also plays violin, piano, and can bang out “The Hokey Pokey” on ukulele. She can fold clothes like a ninja, including fitted sheets (thanks, Mom). Her children are the most brilliant and beautiful creatures on the planet. She collects shot glasses from universities she has visited (about 50 so far). She quilts (occasionally) and knits (badly) and loves watching terrible action movies with her husband, Paul. Her hobbies include making puns, embarrassing her children, and buying scrapbooking supplies just to look at, apparently. Stevie teaches every chance she gets. She has been an instructor at many events in Area 9 of the Handbell Musicians of America, including numerous Summit and FebFest appearances. She is also active as a private clinician, working with individual choirs in Texas cities including Houston, Bryan, Irving, Brenham, and Fulshear. In 2015 she taught three classes at Pinnacle, the National Handbell Festival in Dallas, TX. That same year the Houston Chamber Ringers were invited to give the opening concert for the event. Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

When You’re Not Their First Love, with Beth Richey-Sullivan May 30, 2017

Show notes

Beth Richey-Sullivan discusses strategies for surviving the most perilous of choir director jobs: taking over a program from a rockstar. When your predecessor is both beloved and skilled, the incoming director needs “the skin of an elephant and the heart of a butterfly.” This episode is full of jaw-dropping examples that Beth culls from this past year of taking over from an adored former director. Her warmth, encouragement, and wisdom is required listening for anyone stepping into a new job. Listen: Highlight to Tweet: “You need to have the skin of an elephant, and the heart of a butterfly.” -Beth Richey-Sullivan Show Notes:

Be transparent with your administration, both in your needs and expectations.
You need the skin of an elephant, and the heart of a butterfly (Be tough-skinned, but tenderhearted).
Beth and her husband have fostered 13 children over three years, many of whom deal with their pain with outwardly aggressive behavior. “See their behavior as their pain.”
“I will treat you with respect, so that you know how to treat me.” It’s a long game, but worth the extra time it takes.
Beth has a history of dealing with kids with trauma. When a director leaves, it is a loss for them. You're dealing with a traumatic situation.

3 Key Takeaways:

Do the best you can, and realize the eye rolls aren’t about you.
See their behavior as their pain.
Consistently model the respect and behavior you want them to reflect back at you.

Resources/links Mentioned:

Padlet.com
Emotional Intelligence
Find your Adverse Childhood Experience score
Choir Nation group on Facebook
Email Patreon - Support the podcast!

Biography: Beth Richey-Sullivan is a native of Kansas City, Missouri where she completed her undergraduate degree in both Choral & Instrumental Music Education at the University of Missouri, Kansas City, Conservatory of Music & Dance. She received her Master’s of Music in Choral Conducting at UCLA with Donald Neuen. During her eleven years in California, she was very successful. She was the conductor of the Towne Singers in La Cañada, CA for 7 successful seasons and commissioned Eric Whitacre’s “Seal Lullaby” with this 100 voice community chorus. Beth revitalizing a Choral program at Hoover High School & Toll Middle School in Glendale, CA where she conducted Choral Music, grades 6-12. In 2015, she moved home to Overland Park, KS with her husband Pat and three wonderful children. She just completed her first year as conductor at Blue Valley Northwest High School in Overland Park, KS, where both Chamber Singers and Chorale received perfect ratings at State Festival. Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

Who Do You Serve?, with Stevie Berryman May 26, 2017

Show notes

Purpose, mission, vision...it’s all the same idea. Why do you do what you do? Now that the pressures of concert and contest season are behind you, it’s time to spend some time wrestling with the big questions. There are no easy answers, but Ryan and Stevie Berryman walk you through the discussions you need to have with your musicians, your board, or just the director in the mirror. Listen: Highlight to Tweet: “It’s important that as musicians we are consumers as well as producers.” - Stevie Berryman Show Notes:

“Who do you serve?” is one of the most important questions for a group to ask themselves, but it is frequently overlooked.
Just being good at what you do is not enough to compel an audience to show up for what you do. We are flooded with great performances, both live and in digital formats.
“Who do you serve” is not necessarily the same question as “Who is your audience”. You might serve your members, your community, your church congregation, other students.
To figure out your answer, try focusing on the “One Thing.” Brainstorm answers in a journal. Ask “when am I my best self?”
We all should be consumers of choral music as well as producers. Think of the concerts you attend purely for the pleasure of it, not because you are in any way responsible for it. Why do you show up? In what way are you being served?
It is so easy to hear great performances that being good at what you do is likely not enough to get people to show up. Refining your concept of who you serve, and reflecting that in your group mission statement, will help you attract the people you want to serve.
Craft a mission statement that reflects your group’s notion of who they serve. Beyond being the “premiere” music ensemble in your area, what do you really do?
Use the summer break to answer these big picture questions. Talk about it with your board and your members. Consider having a retreat (at a different location than your rehearsal space) so that everyone in your group can have a voice in this discussion.

3 Key Takeaways:

Why should someone care enough about what you do to show up for your concert?
Don’t underestimate the value of showing up. Be a consumer of music, not just a producer.
Our culture is saturated in outstanding art. That means that just being good, even great, is no guarantee that anyone will listen to you. You delivery of your art is nearly as important as the art itself.

Resources/links Mentioned:

A servant cannot serve two masters
The One Thing, by Gary Keller
Brass Beats
cravat/dickie debate: A cravat is a short, wide strip of fabric worn by men around the neck and tucked inside an open-necked shirt. A dicky is a false shirt front. So while it is not impossible to wear the two together, it is unlikely.
Choir Nation Facebook group: let us know if you use Sight-Reading Factory in your church choir!
Email Patreon - Support the podcast!

Biography: Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

Our TOPPODCAST Picks

Follow Us

Stay Connected

Choir Ninja, with Ryan Guth

Related Podcasts

Links

Stay Connected