Tuesday, September 19, 2017

The Case for Curriculum

There has been a lot of debate and discussion lately about whether contemporary a cappella should be included in the music curriculum, whether that be a cappella examples in the general music classroom, a cappella ensembles at the college level for college credit, or most importantly, the creation of a four-year degree in contemporary a cappella.

Today, I make my case.

Including a cappella music into a formal curriculum has far more advantages than detriments.

Before I begin my incoherent rant, I must clarify the argument I’m making. I’m making the case for adding a cappella music into a formalized school curriculum. I’m not addressing education initiatives such as Next Level, A cappella Academy, Camp A cappella, or the A cappella School. I love and support all of those creations, but none have specific ties to a formal college or degree. I’m suggesting we take the model that the aforementioned organizations have already devised and add it to a degree-granting institution.

The benefits are:

1) Popular Music Base

This is nothing new. Most students respond better to popular music than they do classical music because it is familiar and more representative of the current music trend and their culture. But choral teachers are still hesitant to include popular repertoire into their curriculum, because popular music is made for the masses, and the simplistic, repetitive composition of pop music yields little material to study and analyze.

But (of course) I disagree with the above assessment. If utilized correctly and fully, a general music classroom can go a full year teaching new musical concepts with just a popular music base, and nowhere is that more prevalent than a cappella.

Last year, I joined the Association for Popular Music Education (APME), an organization that promotes the inclusion of pop music into the classroom, not as a one-off lesson anomaly, but as the fundamental basis for all musical learning. It’s entirely possible (and utterly plausible) that your kids aren’t ready to appreciate the complexity of Mozart, the uniqueness of Stravinsky, or the thematic development of Wagner. So I say, screw it. Don’t teach it until they’re ready, even if that means they won’t be ready until they go to college.

2) The End of Mediocrity

Behind closed doors, buried deep within the confines of Facebook comments, there is a word understood by many a cappella professionals who dare not speak its name. It’s called mediocrity.

True, the a cappella community has never shone brighter, thanks to all of the educational initiatives and the sudden expansion of a cappella companies. But for every new bright star, five more groups are struggling to keep up, unaware that educational resources are easier to find than ever.

An a cappella major, or a cappella college classes would help in the fight against mediocrity. Imagine if you will, a recent college graduate who has had 3 dedicated semesters of a cappella arranging, covering everything from medleys to barbershop, 2 semesters of recording techniques covering everything from tracking to mixing (not mastering because there just wasn’t enough time to squeeze it in), a full semester of vocal percussion techniques and live sound, a comprehensive knowledge of contemporary a cappella history, and seven semesters of training in pop vocal styles.

I imagine if a college began churning out students like that, the fight against mediocrity would be more evenly matched.

3) Ensembles for College Credit

When a college includes a dedicated a cappella ensemble as part of the course offerings (as they do in many colleges such as Wright State, Tiffin, or UCD), it sends a clear message that a cappella is considered to be a legitimate style of singing.

Let’s take the age-old Pentatonix discussion: Pentatonix, and Ben Bram, wanted to be known in the music industry as a band. Not an a cappella group…a band that just happened to use no instruments. Their desire to send a message was clear: "A cappella is as legitimate a musical style as pop, hip-hop, or heavy metal." The unique characteristic that this particular group sang without instruments was less important than the fact that they SAAYNG. (pronounced “sang” with extreme emphasis on daaaammmmmnnnnn!!!)

They have made many strides in this endeavor. Now, it’s education’s turn. To truly legitimize a cappella music as an art form equal to classical choral music, educational institutions must transform it into a credit-worthy ensemble, under the umbrella of the music program.

4) Better for Beginners

I teach a for-credit a cappella ensemble where I work. The ensemble is unique for three reasons: one, we exclusively sing contemporary a cappella arrangements from a variety of arrangers, two, it is a non-auditioned ensemble so anyone can join, and three it is made up of mostly beginning singers who can’t even identify a treble clef, let alone sight read.

By the end of the semester (or more likely two consecutive semesters), several changes have occurred: The students can sight read, but only in a stepwise direction, the students have learned the basics of pop vocal production, the students have sung complicated, syncopated rhythms, and the students have freely improvised over a simple chord structure. True, none of these advancements are at an expert level, but the change from day one to the end is significant, and I believe the unique characteristics of chosen a cappella arrangements contribute to it:

A. I choose arrangements where the background voices serve as chordal accompaniment so that the voice leading is simple and stepwise.
B. I choose arrangements where the pitches are almost identical, but the rhythms are very challenging and fun to sing, requiring a high level of concentration and internal counting.
C. I choose arrangements with repetitive chord progressions so that the students can have the freedom to improvise a section.
D. I choose arrangements with a limited range so that I can demonstrate healthy chest singing and the transition from chest voice to head voice.

What do you think? Does a cappella belong in the school curriculum?

Marc Silverberg

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Monday, September 11, 2017

Where Do I Sing?

One of the biggest challenges of being in a cappella group (in my opinion) is finding and landing a gig. A cappella has the distinct advantage of being portable and adjustable- the group can basically go anywhere and fit in almost any space (assuming they aren't using microphones).

However, a cappella has the distinct disadvantage of being insanely dorky, shunned by the traditional choral community, and in need of amplification, whether that be from the acoustical environment or with sound equipment.

These disadvantages may seem overwhelming but fear not. A cappella groups can sing in more places than you realize...

Allow me to list 100 places where an a cappella group can find a gig:

1) Be an opening act for another group
2) Local television appearances
3) Radio appearances
4) Sporting events
5) College a cappella shows
6) Public school concerts
7) Workshop demonstrations
8) A cappella festivals
9) Local theatres
10) Nightclubs
11) Corporate gigs
12) Private parties
13) Amusement parks
14) Specialty fairs
15) In the studio
16) Weddings
17) Funerals
18) Private shows for one or two people
19) Restaurants
20) Gigsalad.com
21) Charity events
22) Religious houses of worship
23) Marathons
24) Caroling door-to-door
25) Caroling door-to-door on a day that isn’t Christmas
26) Music festivals that are for voices
27) sonicbids.com
28) gigmasters.com
29) Family gatherings
30) ACDA festivals
31) NAfME festivals
32) Your local music organization’s festival
33) Post on Youtube
34) Post on Dailymotion
35) Post on Vimeo
36) Career fairs
37) Libraries
38) Public parks
39) 4th of July festivals
40) Pet adoption places
41) Music stores
42) Open Mic Night
43) Comic conventions
44) Other conventions
45) Planetariums
46) Museums
47) Malls
48) Famous landmarks
49) Cruise ships
50) Movie theatres before the movie starts
51) Country clubs
52) Local sports games
53) Zoos
54) Comedy clubs
55) Casinos
56) Outlet malls
57) Bowling alleys
58) Private classes
59) Cocktail hours
60) Wineries
61) Tastings
62) Camps
63) Flea markets
64) Farmer’s markets
65) Ski resorts
66) Beaches
67) Boardwalks
68) Playgrounds
69) Fashion shows
70) Gigfinder.com
71) Mini golf courses
72) Botanical gardens
73) Penitentiaries (Don’t laugh…it’s been done)
74) Boy scout meetings
75) Girl scout meetings
76) Fraternity houses
77) Sorority houses
78) Showcases
79) Tournaments
80) Another country
81) Another island
82) Magic shows
83) Aquariums
84) Monuments
85) Gift shops
86) Auctions
87) Veterans Hospitals
88) Any hospital
89) Nursing homes
90) Assisted living centers
91) Banks
92) Rooftops
93) Public pools
94) Rec centers
95) Gymnasiums
96) Game rooms
97) Arcades
98) Proposals
99) Hallways

100) Make your own damn concert

There. Now you have no excuse.

But wait! There's more!

I would argue that finding and booking a gig is as important, if not MORE important than rehearsing whatever score you're working on right now. You NEED to spend time hunting for gigs. 

I firmly believe that if the group does not have an upcoming gig, there is no reason to practice.

That's not saying there's no reason to meet/hang out/sing together and improvise. But as far as practicing and perfecting scores, a live performance is the main motivator. 

How do you find gigs? Here are some ideas:

1) Gig Committee

Assign 2-3 people from your group to be part of the gig committee. The SOLE PURPOSE of the committee is to do the legwork on finding and booking gigs. And yes...it requires work. Gigs don't fall out of the sky like cupcakes in my recurring dreams.

2) Gig-finding Party

Assign part or all of one rehearsal for researching, finding, and booking gigs. It's a lot of hard, annoying work, so anything you can do to make it more fun should be encouraged.

3) Hire a Manager

My group has discussed this option in the past. The advantage of a manager is that he/she takes care of all that annoying work so you can focus on singing. The disadvantage is, of course, money. Plus, professional managers probably aren't sure where to book an a cappella group. 

Is there someone you know personally, whom you can hire (pay a small fee) to be your unofficial manager? I know if someone gave me money, I'd work much harder for them.

4) Gig Websites

Websites like Reverbnation, Gig Salad, and others charge a monthly fee for membership. In return, the company frequently contacts you about possible gigs. Yes, you have to do the follow-up leg work (calling, texting, begging, crying) but the difficulty of finding the gig is made much easier.

Find a gig. Do it. Now.

Marc Silverberg

Follow The Quest:

Tuesday, September 5, 2017

Audition Bingo

The quest is back!

For real!


I'm not joking!

Prepare yourself for another full year of ridiculous posts, opinionated articles that everyone disagrees with, and inane discussions that go absolutely nowhere! Hooray!

But for the start of the year, I thought we'd have some fun first.

It's time to play....AUDITION BINGO!

This bingo sheet should make things MUCH more interesting, especially when your group is staring down the never-ending line of freshmen who don't understand the difference between Pitch Perfect and perfect pitch.

You can copy the game board below, OR you download a FREE copy here:


Marc Silverberg

Follow the Quest:

Wednesday, February 22, 2017

A Swingles Moment

My very first experience with a cappella music came when I was in 9th grade. My choir teacher, Kevin Badanes (the very same Kevin Badanes in the brilliant vocal jazz group Avante) played a recording of the Swingle Singers singing “The Theme From Superman.” That was when my life changed.

I’ve mentioned this story in a previous blog, but chances are you didn’t read that one, so I’m reiterating the point. It was The Swingle Singers who started me on the path I’m on today. Before that moment, all I listened to was Weird Al and Jimi Hendrix. After that moment, it was Weird Al and A cappella (sorry Jimi).

A cappella CD’s were hard to find in 1996. You had to order them from magazines (which seemed sketchy…though I later found out they were just run by Deke and friends of Deke). CD stores (you may not know what those are…) did not have a “contemporary a cappella” section. 

Perhaps if CD stores still existed today…they still wouldn’t have a "contemporary a cappella section."

Anyway, back to the story. So I tried to devour as much a cappella as I could, which was difficult since I didn’t know where to begin or how to find the music. I was able to find “Chameleon” by Vox One and a CD by The Nylons, but not much else. Thanks to the Internet, this problem is now solved…but it’s been eclipsed by a new problem: Now there’s just too much a cappella out there and if you’re new to the a cappella scene, you could be as lost as I was in 1996.

I’ve mentioned that point in a previous blog as well, but chances are you didn’t read that one either. So far, you’re 0 for 2.

I swear, I’m getting to the point.

In 1996, life-changing a cappella music was hard to find. You had to stumble across it accidentally. The same goes for 2017, but now you have too many sources to check and too many opinions to sift through.

In the expanding world of contemporary a cappella, an a cappella nerd like me can be overwhelmed by the amount of new content. When all a cappella starts to sound the same, it can be hard to love the style as much as you once did.

But that’s when I turn to my Swingle Moments.

What is a Swingle moment? Simple. It’s a term I invented just now (yay me!) to describe a personal, life-changing a cappella moment (not necessarily from the Swingle Singers). Hearing or seeing a Swingle moment is like having a nerdy divine intervention where you suddenly know the next step of your a cappella journey. The build-up of fatigue from hearing too much a cappella is released in a glorious puff of smoke, like a big satisfying aca-fart.

Here are my Swingle Moments. (Sorry/Not Sorry for the fart joke):

The moment I realized any song could be arranged a cappella: “Steven’s Last Night In Town” by Pandemonium.

My collegiate a cappella group, Vocal Point, had dug in their heels and refused to sing any music later than 1990. This meant our repertoire consisted of *gasp* “Lion Sleeps Tonight, ” “Day-O,” and “Eleanor Rigby.” And no, we did not sing it well.

For one of our concerts, we invited a group from the University of Maryland, Pandemonium, to sing with us. At the time, I had expanded my listening tastes to Weird Al, Monty Python records, A cappella, and Ben Folds Five. When I heard Pandemonium sing my favorite Ben Folds Five song “Steven’s Last Night In Town,” I suddenly knew that anything was possible. It was at that moment that I realized our tired arrangements of burnt-out oldies were not going to satisfy me as a musician anymore. I wanted to expand our repertoire to include the off-beat songs that no one would think of and original songs that no one would dare to write.

The arrangement that taught me how to write an a cappella original song: “What’s It All About” by Five O’Clock Shadow on Wonders of the World

This song remains my favorite a cappella original of all time, mainly because how it uses so little to rock so hard. When I wrote my first a cappella original “Power A cappella,” I copied the form and style of “What’s It All About,” because I knew if I used the same mechanics that made that song successful, mine would also be successful.

Fun fact: “Power A cappella” was terrible.

The arrangement that taught me how to compose polyphonic a cappella textures: “Everlong” by The Amalgamates on BOCA 2005

That arrangement is still one of the gold standards of polyphonic a cappella arranging (in my opinion). Just listen and try to pick out the numerous intersecting lines within the overall groove. I wish more a cappella groups would create dense, driving textures like this one.

The arrangement that changed my mind about medleys: “Super Mario” by Vocal Point on BOCA 2009

Normally, I hate medleys. The medleys I’ve heard are usually clumsily-arranged song cycles that give you the “greatest hits” without any substance. Plus, they’re sooooooooooooooo long.

My attitude about medleys changed after hearing “Super Mario.” Besides the fact that I was thrilled Vocal Point (different Vocal Point) had dedicated an entire medley to a video game, I loved the concept (moving from level to level), the inclusion of sound effects, the adaptations that added new lyrics, and the seamless change from the “invincibility star” song to “Shining Star” by Earth, Wind, and Fire. If you ever write a medley, please listen to this one first and follow their lead.

The album that shaped my current arranging style: Hold That Thought by Fermata Town.

For a brief few years, a cappella music didn’t thrill me. I felt like the BOCA compilations were churning out the same types of arrangements, and I hadn’t heard anything that I truly “loved.” By complete accident, I found Hold That Thought on iTunes. And then the light bulb turned on.

The group’s merging of radio hits with extremely complicated (and often surprising) jazz harmonies threw me for a loop. And let’s be clear…this is not a jazz album. They can rock as hard as Pentatonix, but with harmonies that are much more complex. Ever since hearing this album, I’ve been trying to model their style and substance. I’ve rekindled my interest in learning jazz theory and I’m constantly trying to shock the audience with interesting chords and dense harmonies.

The performance that set my career in motion: Mister Tim at the Amplify A cappella Festival, 2012

No live a cappella performance has ever had a greater impact on me than seeing Mister Tim perform in 2012. In that performance, I learned how to operate a live looper, I learned that you can be silly in a cappella, and I learned that there was now a way for me to make the a cappella music I had always wanted to make, without interference.

I’m not a professional live looper yet (nor will I probably ever be), but I owe much of my silly Docacappella persona to Mister Tim.

The arrangement that expanded my concept of harmony: “Poor Wayfaring Stranger” performed by The Swingle Singers with Peter Hollens, written by Tom Anderson.

There’s a reason I believe Tom Anderson is the greatest a cappella arranger living today: he sees music, writes music, and hears music in a “Beautiful Mind” like way. Despite his endless portfolio of arrangements, the immediate proof is in “Poor Wayfaring Stranger” where he utilizes chord combinations I haven’t even heard of (and I’m getting a doctorate!) and creates a rich tapestry of sound I didn’t even know was possible.

It’s been 3 years since I bought the arrangement from him, and I’m still combing through it, trying to decipher what the hell he was thinking when he wrote it.

The performances that changed the way I visualize live a cappella: “Titanium” by Voices In Your Head, 2013 and “Mad Hatter” by LARK, 2016

Both of these groups demonstrated what I feared I would never see again in a live a cappella performance: innovation.

Personally, I’m tired of watching the “hey-we’re-trying-to-be-really-cool-and-hip-by-standing-in-a-double-arc-or-adding-sexy-dance-moves-to-our-set” kind of choreography that plagues many inexperienced groups at ICCA and ICHSA competitions. When I wanted someone to show me something new, both of these performances did just that: Voices in Your Head manipulated the position of the microphones to create a sonic pulse and LARK added costumes, makeup, and staging to their performance, enhancing what could have been a tired power ballad into a spectacle.

This is one of the goals of my group, Satellite Lane: To create a show out of a cappella, not a set of songs with individual choreography. We’ve achieved this by writing 10-minute short plays, making “faux a cappella commercials,” or adding thematic dance moves that re-appear throughout all three songs.

For the theatre geek inside of me, I will always prefer “innovative and wacky” over “cool.”

The album that blew my mind:  Bioluminescence by ARORA.

Sure, Pentatonix is credited with bringing a cappella to a current mainstream audience (as they should be). But within the a cappella bubble, the album that essentially "changed the game" was ARORA's masterpiece, Bioluminescence. What makes this album great isn't necessarily the songs themselves (all originals, all incredible), but the way ARORA uses so little to create so much. A group of only five singers, ARORA layers harmonies over harmonies to produce a "wall of sound" set to a tight, rhythmic groove.

My very first thought after listening to this album was that I need to work harder so that I could one day create an album like this one.

Those are my Swingle Moments. What are yours?

Marc Silverberg

Follow The Quest For The A cappella Major:

Wednesday, February 15, 2017

Writing A Dissertation

First, let me address the question on everyone’s mind:


True, I haven’t written on my blog in three months. Here’s why:

I’ve been busy working on my massive dissertation, the a cappella major, and I’m proud to say that the first draft is FINALLY submitted.

A few friends have mentioned to me that they were thinking about applying for a doctoral program. If you were thinking “maybe one day I’d like to get my doctorate,” please do the following:

1) Go to the nearest hardware store.
2) Buy a hammer.
3) Use said hammer on your face.

All kidding aside, as someone who is only months away from completion, let me give you some real advice about the doctoral program.

Disclaimer: Not all doctoral programs are the same. This advice may not apply to you.

1) Classifications

When you enter a doctoral program, certain terminology is used to describe your progress:

Doctoral Student- Until you physically enter the writing phase, you are classified as a doctoral student. During this phase, you take the necessary classes to complete the program. Some programs (like mine) require you to take a comprehensive exam when the necessary classes are finally completed.

Doctoral Candidate- Assuming you have to write a dissertation (some doctoral programs don’t have that stage), your first task will be to write a proposal that outlines the dissertation (more on this later). At this stage, you become a doctoral candidate.

ABD (All But Dissertation)- In the ABD stage, the only thing you have left to complete is the physical dissertation. You have completed the classes, passed the comprehensive exam, written your proposal, and now it’s time to write the behemoth that is the dissertation. The good news is, many full-time college jobs will hire people in the ABD stage, as the ABD stage implies your doctoral degree is close to completion.

2) Doctoral Proposal- The single most important document you will ever write.

The phrase that was worth repeating at Five Towns College was “The proposal is the hardest part.” Why is the proposal, a 20-30 page document, harder to write than the dissertation, a 150-300 page document?

The dissertation proposal is equivalent to a formal business contract. The members of your committee debate and sign it, and once completed, you are bound to its content. The proposal essentially tells the members of your committee what your dissertation is about, how the dissertation will be organized, and specifically what you will write about.

The proposal is the hardest part of the dissertation process, because once completed, all you have to do to pass the dissertation is follow the proposal. Think of the proposal like a big mind map or outline. All you have to do is follow it to the letter, and your dissertation is complete.

3) Strategies for success

I didn’t write my 844-page dissertation overnight (though if you knew how many sections were written “overnight,” you’d slap me). It took 3 years to complete the draft you saw above.

Writing a dissertation is sometimes known as “the loneliest activity in the world.” Once you begin your dissertation, there is no due date. There is no friendly reminder to keep working. There is no time table, and no one can help you. Your biggest challenge in writing isn’t the writing itself, but the self-motivation to keep working when there is no ticking clock. As someone who has never been good at self-motivation, here’s how I finished:

A) I employed the Pomodoro Technique time management method. (link: https://en.wikipedia.org/wiki/Pomodoro_Technique) Work for 25 minutes, break for a few minutes. Though I didn’t follow the technique exactly, setting short bursts of “work time” helped me visualize the task as a series of much shorter goals. I focused on one lesson at a time, rather than “get as many pages done as possible.”

B) There were times I knew that work was not going to get done, even if I forced myself to try. When those times came, I put the computer down and picked it up the next day. Sometimes, you just can’t work.

C) I rarely, if ever, did work at home. Home is a terrible place to complete work. Your stuff is there. The kitchen is there. The bed is there. The television is there. Your wife is there.

The majority of my work was done at my desk at Five Towns, where there was no major distraction.

D) I said “NO” to a few opportunities. I’m typically a guy who says “YES” to everything, and then tries to figure out how to make it work. This year, I had to say “NO.” No, I will not arrange that song for you. No, I will not help you with your musical. No, I do not want to be part of your next project.

E) I knew that my biggest challenge in writing would be the lack of deadlines. I’m a guy who thrives under extreme pressure and makes it a top priority to never miss a deadline. To combat the fact that dissertations have no deadlines, I had to create them.

I told my advisor “I’ll have that chapter done for you by Monday.” Of course, I hadn’t even started that chapter yet, but once the words came out of my mouth, I knew that it had to be done, otherwise I would look like a liar, or incapable of completing tasks on a schedule.

You need to force yourself into a corner, and then get out of it.

Marc Silverberg
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