Another tree at Live Oak House is a crape myrtle. All summer it is covered with lacy blossoms in a deep, rosy pink that is almost red. Although these petals are long lasting, some of them fall to the ground in a strong breeze. There they sometimes keep their color for a day or two, appearing as jewels on the dark green grass. As we relish this view, we also enjoy seeing young children pedaling by, racing each other on their bicycles. We do not race, but we keep pedaling along, peddling our latest “jewels.”

This summer sees the introduction of our new choral series and its concept. Each of these choral compositions with instruments comes as a set, which includes the conductor's score, instrumental parts, and a choral score, all for a single price. The purchasers have our permission to make copies of any material in the set, to the extent that meets (only) their own needs. This concept helps everyone concerned. The purchasers obtain the music at lower cost, and don't have to worry about copyright infringement when making necessary copies. Live Oak House avoids the cost and inconvenience of maintaining large amounts of inventory with many more separate items to keep track of. Our first three offerings in this series all began as commissioned works. There are also new titles in two of our Orchestral Ensembles series.

In July, Dale and Carolynn were with our exhibit at the national conference of the Association of Lutheran Church Musicians in New York City. In October, they plan to be at the 41st annual Lectures in Church Music of Concordia University in River Forest, IL.

Those of you who surf the web, visit our web page: www.liveoakhouse.com, and fill your shopping cart! Check to see that postal mail is going to LIVE OAK HOUSE—6700 Piedras Blanco Drive-Austin, TX 78747. Our phone/FAX is (512) 282-3397.

Directors of volunteer musical groups, such as church choirs and instrumental en-sembles, usually must make do with rehearsal times that are inadequate. Professional and university organizations, and even many at the high school and middle school levels may rehearse a composition for hours over a span of weeks, while church groups typically get 60-90 minutes once a week, if that much — maybe with inconsistent attendance as well. Yet the latter need more time than the former!

Ability levels within each volunteer group can vary widely, too, and so can the amounts of individual commitment. While the director may be looking for a polished performance akin to his or her favorite recording of the composition being prepared, some of the musicians may feel quite pleased if they can get through it without becoming lost, squeaking though a warped reed, or entering early after a multiple-measure rest. Add to that the frustration of having parishioners remain silent when the director (and usually the other musicians) are inspired by a presentation that came together beautifully, while giving high praise for a deficient rendition. The end result will almost always fall somewhere between these two extremes. It is not fair for the director to expect perfection from amateur musicians whose main life is outside the church rehearsal hall; and it is not fair for those same musicians to expect the director or the listeners or, most importantly, their Creator to be satisfied with shoddy workmanship in God's house!

How, then, is the director to get the most from the least, so to speak? One approach might be called musical triage. Just as emergency medical personnel must decide quickly what conditions to treat and how much, in order to do the most good for the most people, the musical director must decide

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