University of Illinois–Chicago · Certificate in Nonprofit Management, 2019
    Strategic planning; Grant writing; Establishing Relationships with Donors
University of Miami · Doctor of Musical Arts, 2006
    Choral conducting
Christus by Franz Liszt, Urtext published by Bärenreiter
Juilliard School · Doctor of Musical Arts, 1988
    Organ performance
Juilliard School · Master of Music, 1985
    Dissertation: “Franz Liszt: Music for the Pope Among Instruments” published in The American Organist
    Organ performance
Baylor University · Bachelor of Music, cum laude, 1982
    Organ performance

Choral Conductor

The Citadel · Charleston, SC · Director, Catholic Music, 2014–2017

Conduct weekly rehearsals for cadets, most of whom had no musical background, expanded choir’s role in weekly Mass from hymns only to include sung Mass parts, chanted Psalm and new anthem. Increased enrollment from three to 20, retained 80% over three years.

University of South Carolina Upstate · Director of Choral Activities, 2012–2013

Conduct thrice weekly for Chamber Choir, an au­ditioned group of 24 students, expanded re­per­toire to include more challenging works with di­verse styles, in two concerts; Conducted twice weekly rehearsals for University Singers, an ensemble for all students, faculty, staff and community members, increased enrollment by 50%.

University of Miami · Teaching Assistant, 2003–2006
Assumed direction of Collegium Musicum while faculty was on medical leave, conducted twice weekly rehearsals of thirty upper classmen expanding repertoire and difficulty level in three concerts.

New England Music Camp · Faculty, 2004
Conducted 40 treble boys and girls in four concerts during two month summer camp, introduced foreign language texts along with diverse repertoire, rated best treble choir in 25-year camp history.

Central City Chorus (New York City) · Director of Music, 1998–2000
Rebuilt community chorus after period of decline, recruited new volunteer singers increasing size by 40%, expanded repertoire to include Jazz, Baroque. Contemporary and orchestral works, increased budget and produce three concerts during two seasons.

Upstate Singers Allied (1997) & Cantarìa (1998) · Founding Director
Established new gay men’s chorus, recruited singers, produced concerts, built board for 501(c)3, raised more than $10K in one year and produced three concerts.

Texas Boys Choir (Fort Worth, TX) · Director, Residential Choir, 1981–1983
Train 30 boys, aged 9–11, how to sing in four week­ly rehearsals, teaching them basics after their pre­pa­ratory class, introduce two-part music using Kodály method with hand signals, perform four concerts in Dallas-Ft. Worth Metroplex.

College Teacher

University of South Carolina Upstate · Director of Choral Activities, 2012–2013
Introduction to Music. Taught two undergraduate sections, created detailed visual presentations that enhanced the textbook, including video examples;
built dedicated website with helpful information as well as presentations in PDF format.

University of Miami · Teaching Assistant, 2003–2006

Beginning & Intermediate Choral Conducting. Taught undergraduate choral conducting to music majors. Built self-evaluation forms on Blackboard

so that students could watch weekly assignments while self-critiquing.

Asheville-Buncombe Community College · Faculty, 1991–1992

Appreciation of Music. Taught two undergraduate sections, arranged free tickets to local concerts for

students, upper classmen expanding repertoire and difficulty level in three concerts.

Church Musician

St. Luke's Episcopal Church (Rochester, MN) · Director of Music, 2019–
Conduct adult choir; play organ for services.

St. John the Beloved Church (Summerville, SC) · Director of Music, 2013–2018
Conducted weekly rehearsals of semi-professional choir, increased size by 20%, greatly increased difficulty level and diversity of anthems, including performances of Brahms Requiem with four-hand piano accompaniment (arranged by Brahms) Vaughan-Williams Five Mystical Songs, assumed

leadership of concert series and increased attendance and fundraising by more than 50%, played organ for four weekly Masses, performed yearly concert, including chamber music of Rheinberger with Charleston Symphony string principals.
St. Elizabeth Ann Seton Church (Simpsonville, SC) · Director of Music, 2012–2013
Conduct weekly rehearsals of small volunteer choir, introducing sung Mass parts changed Psalm and weekly anthem.

Christ Church (Coconut Grove, FL) · Organist & Director of Music, 2008–2009
Conducted weekly rehearsals for volunteer choir with limited skills, made it enjoyable and brought out their best efforts.

St. Thomas Episcopal Church (Coral Gables, FL) · Organist, 2003–2004
Played organ for weekly services, continuo for Messiah.

Central Presbyterian Church (New York City) · Director of Music, 1998–2000
Conducted professional choir for weekly service, expand repertoire to include music of Kodály and Herbert Howells, compose anthem for solo tenor, choir organ and brass for Easter, play or-

gan for services and in recital, oversee selection of organ builder to undertake $1 million rebuild and ex­pan­sion.
Trinity Episcopal Church (Asheville, NC) · Organist/Choirmaster, 1990–1992
Conduct weekly rehearsals for semi-pro­fes­sional adult choir, youth and children’s choirs, increase adult choir size by 20%, introduce Haydn and Mozart Masses into festival services

services, play organ for services and in recitals, improvise organ music for Seven Last Words of Christ on Good Friday, broadcast on the local NPR radio station.
Holy Trinity Catholic Church (New York City) · Director of Music, 1984–1990
Build four adult volunteer choir members into a 20-voice semiprofessional ensemble, play organ for four weekly Masses, commission new setting of Latin Mass by Juilliard classmate Lowell Liebermann (who wrote his first organ work

for my DMA recital), present recital that raised funds for me to compete in the Franz Liszt International Organ Competition in Budapest, 1988.

Miscellaneous Positions

Mayo Clinic (Rochester, MN) · Research Assistant, 2018–Current
Supervisor: Tanya M. Brown, PhD, ABPP-Cn, LP Database entry and cleaning, preparation of IRB
proposal and grant writing for pediatric neuro­psychology program.

Charleston Post-Courier
(Charleston, SC) · Freelance Writer, 2015–2018
Review Spoleto Festival International concerts including Westminster Choir, avant-garde and
traditional operas, Mozart and Brahms major works with orchestra, and a marionette opera.

University of Miami Frost School of Music · Graphic/Web Design/Writer, 2003–2010
Graphic/web design; produce concert pro­mo­tional materials; trade show signage; write fund­raising and thank you letters for Dean Shelly
Berg; write press releases; edit faculty bios for school website; design advertisements.

ModelExpo, Inc. (Miami, FL) · Art Director, 2007–2008
Conceptualize, design and produce catalogs, advertisements, brochures, packaging, brand-
ing, and website graphics; supervise one employee; interface with printers and vendors.

Helicon Foundation (New York City) · Administrator, 1993–1995
Manage daily tasks including correspondence, financial management, personal assistant Albert Fuller, manage membership database, contract
with artists for quarterly symposia, handle logistics for events, fundraise and grant writing.

Student & Singer Observations

University of Miami, the student who most helped me create Christus, 2005
David served as a friend, teacher, conductor and mentor as I was gathering much needed experience in the post college music field. I apprenticed with him as a live-in assistant dur­ing the “year of Christus” and I accompanied for the Ocean Reef chapel choir under his direction. I am currently making a living using the skills that were developed during my studies with David. David is a true scholar. The me­ti­cu­lous editing that went into the project was no small task. Through David I learned the "do"s and "dont"s of musical formatting, editing and copy work

and copy work. Skills I had no idea would be so valuable as Icurrently apply these skills on a regular basis. It is by David’s work that I learned attention to detail and developed an eye for editing and music notation, not to mention lightning speed notation input. Looking back, I’m not sure how he ever managed to put up with me as a young inexperienced mu­si­ci­an. I know he must have had high levels of patience and confidence in me and for that I am truly grateful.”

—John Loren Fairbanks, accompanist
and chief aide producing

The Citadel, Catholic Cadet Choir, 2014–2017
“I came to The Citadel with no choir experience and in a short time David was able to help me not only sing well as part of the group, but develop my confidence by teaching me to cantor and sing solos that I otherwise wouldn’t have taken

on. Singing was something I had never done before and thanks to him and the choir it became a very large part of my college experience.”

—2LT Timothy Behnke, cadet choir commander

St. John the Beloved, Parish Choir, 2015–2017
“David is a very straightforward and professional director. He treats adults as human beings first and he is very good at

understanding his singers’ strengths.”

—Stephen G., choir member and high school choral director

University of Miami, Chamber Singers, Spring 2006 & Christus Production, 2005
“As if his degrees weren’t enough evidence, a simple con­versation or rehearsal would illuminate the amount of thought, knowledge, and dedication David Friddle has for musicianship. Each rehearsal was meticulously planned for maximum efficacy, a skill that is emulated in my own re­he­arsals today. Beyond singing in his choir, my fondest me­mo-

ries of Dr. Friddle were getting to know him beyond the stand as I was on the team that helped him edit the Bä­ren­reiter publication of a work by Liszt. Not only was he a brilliant man, but was also full of compassion and care.”

—Eric Firestone, assistant with Christus, choir
member and now a middle school choral director

University of Miami, Conducting Student & Christus Assistant, 2004–2005
“David Friddle’s meticulous musical direction brings out the best of both an individual and an entire ensemble. His ability to communicate ideas clearly elevates the standard of mu­si-

cianship that is required in the quality sound of an entire music program.”

—James Senson, assistant with Christus
and student in my conducting classes

University of South Carolina Upstate,
Music Appreciation, Spring 2013
“Strengths—goes over material, tells you what you need to know, puts slides up for further understanding.”

University of South Carolina Upstate,
Chamber Choir, Spring 2013
“10/10. Always helpful to me, very intelligent. I’m going to miss you next year.”


Teaching Philosopy

My foremost objective is to help prepare students for a life beyond college: A life that is productive and contributes to the betterment of society: A life that provides personal satisfaction and fulfillment: A life wherein the student thinks autonomously and forms considered opinions based on observation and thoughtful analysis.

Music Majors

Music schools and conservatories are most effective when they graduate professionals who are well-skilled in rudiments such as sight reading and aural comprehension as well as outstanding skills in instrumental and vocal technique. Students will be successful when they sight read fluently and act like professional musicians. Graduates who practice professionalism in school and master the tasks of working performers are most likely to succeed. This success comes down to practical and quantifiable skills.

  • Objective: Excellence in sight reading

        Having worked for more than ten years in New York, and having hired dozens of professional singers, I have a keen awareness of what is required to succeed as a professional singer. Most vocal graduates will initially earn their living by singing gigs in churches and choruses; it is how every aspiring opera singer and Broadway star builds a resume. As such, singers who are able to read most choral literature at sight are more likely to be rehired.
        In addition to designated sight-singing classes, this critical skill can be reinforced in choral rehearsals by regularly subjecting the choir to reading novel literature of every historical period. Rhythm flexibility and familiarity with mixed meters can be strengthened in vocal warm ups and exercises. In short, the rehearsals are ideal environments to help students improve their musicianship skills.

  • Objective: Distinguishing between various performance styles

        In today’s market, there are plentiful opportunities for performers and singers who are aware of the various performance styles practiced in different historical periods and geographical locales. Hence, singers who can use their voices in a variety of ways—with and without vibrato, for instance, or learning how to ornament Baroque and Classical arias—are more likely to be employed. Since our goal is to enable our graduates to earn income in their chosen field, we do them a great service by exposing them to as many performance styles and methods as possible.
        Selecting a wide range of repertoire, from every historical period and place, gives the students an opportunity to learn how to perform different styles in a forgiving environment. It is important, however, for choral conductors to work closely with voice faculty—to teach singers how to sing straight tone or minimal vibrato in a healthful manner. No one wants students to leave school with vocal problems. Professional singers work everyday in performances that require straight tone; there is certainly a healthy way to produce it. Our job is to teach them how.

  • Objective: Identify formal structures and compositional techniques

        One of the most important components of aural training is to be able to hear cadences and identify formal structures. These goals can be incorporated into a rehearsal by posing well-timed questions regarding how the work is constructed, how extreme chromaticism may highlight textual references or when a recapitulation occurs, among other things.
        These and other facets of musical components, as well as performance elements, can be discussed during rehearsal. I’m not suggesting we turn rehearsals into music history classes; rather, I propose that musical understanding be taught along with the notes. That the conductor identify form, the use of modulations and chromaticism, and how articulation in one piece differs from articulation in another.

  • Objective: Enhance the choral program

        These suggestions are not meant to be implemented in a vacuum—exercises for their own sake; rather, the equally important goal is to enhance the school’s choral programs. Excellent sight readers will only improve rehearsals; students who can differentiate between historical styles will bring a richness to performances that otherwise would be lacking. Finally, to create multiple vocal sonorities in a healthful manner is an important and worthy undertaking—one that will give graduates a considerable head start in their career development.
        The primary purpose of choral rehearsals is to prepare choral literature; still, let us not forego an excellent opportunity to reinforce what students are being taught in music history, sight-singing and aural skills. This is team teaching in its most useful form: colleagues working together to prepare and graduate students who have a reasonable chance to succeed by incorporating what they were taught in school into their professional lives. Let’s help them earn an income as a musician. What better gift can we give them?

        There is great satisfaction in working with students and adults who just love to sing. My goal isn’t to prepare them for a music career; rather, I want first of all teach them how to use their bodies to produce healthy sound. Giving them the means to do so requires vocal exercises that allow them to learn for themselves such fundamentals as a grounded stance, effective breathing, relaxed posture, consistent use of articulators.
        Once they feel comfortable in their bodies and grow more confident as singers I can introduce exciting and appropriate repertoire that will both engage and challenge them. Success depends on selecting literature of varying styles and genres, balance between English and foreign texts, level of difficulty and a serious or lighthearted affect.
        These folks are our future audiences and financial backers. Let’s build upon their inherent love of music—especially singing—and enhance both their performing and listening pleasure. By doing so everyone benefits—and that is a wonderful outcome.

  • Public Lectures

    Gonzaga University music students, 2007
        Liszt and the Romantics
    University of Miami Honor Choir, 2005
        Changing Adolescent Male Voices
    University of Miami performance practice students, 2006
        Golden Mean
    University of Nebraska at Lincoln (UNL), 2005
        Christus: Pre-concert lecture
    American Liszt Society Festival, 2005
        Creating a New Edition of Christus
    University of Nebraska, Lincoln, doctoral music students, 2005
        Editing Manuscripts and Primary Sources
    ACDA National Convention, Los Angeles, 2005
        Christus: Following the Paper Trail
    University of Miami doctoral music students, 2005
        Historical Temperaments, Intonation & Singing

    Teaching Documents

    ©2021 David Friddle               Drop me a line, why don't you?