The Official Publication of the Alabama Music Educators Association August/September 2024
DAY 2024
UNDERGRADUATE DEGREE PROGRAMS:
Bachelor of Music
• Commercial
• Composition (Technology)
• Instrumental
• Piano
• Vocal
GRADUATE PROGRAMS:
Doctor of Philosophy in Music Education
Specialist in Education in Music Education
Master of Education in Music Education
Bachelor of Music Education
Bachelor of Arts in Music
Minor in Music Business
Ala Breve is published four times a year (August, October, February & May) by the Alabama Music Educators Association and printed by Hardwick and Son Printing in Dothan, Alabama.
Bulk rate postage paid at Dothan, Alabama.
ADVERTISING & COPY DEADLINES
August/September
(Back to School issue): July 15
October/November (Conference issue): September 15
February.March (All-State issue:)
January 15
May/June (Summer issue:) April 15
Unless otherwise indicated, permission is granted to NAfME members to reprint articles for educational purposes. Opinions expressed in this publication are not necessarily those of AMEA or the Editor. All announcements & submissions are subject to editorial judgement/revision.The Alabama Music Educators Association is a state unit of NAfME:
The National Association for Music Education, a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME/AMEA membership is open to all persons engaged in music teaching or other music education work.
Editor & Advertising Manager: Garry Taylor 1600 Manor Dr. NE Cullman, AL 35055 (256) 636-2754 editor@myamea.org
AMEA Governing Board 2024-2025
Dr. Phil Wilson President Ogletree Elementary School 737 Ogletree Road Auburn, AL 36830 (334) 538-9679 president@myamea.org
Lori Hart President, Alabama Bandmasters Association
Guntersville High School 14227 US 431 Guntersville, AL 35976 (334) 797-1778 aba_president@myamea.org
Alicia Luttrell President, ELEM/GEN Old Shell Road School 3160 Heather St. Mobile, AL 36607 (251) 221-1557 aluttrell@mcpss.com
Joey Harbison Industry Representative Gadsden Music Company 607 Broad Street PO Box 132 Gadsden, AL 35901 205-910-2622 jmharbison@aol.com
Dr. Travis Bender
President-Elect
Oak Mountain High School 5476 Caldwell Mill Road Birmingham, AL 35242 (205) 682-5267 president_elect@myamea.org
Amanda Slay President, Alabama Vocal Association Hoover High School 1000 Buccaneer Drive Hoover, AL 35244 (205) 439-1227 amanda.slay.ava@gmail.com
Stephen Foster President, HED Division Faulkner University 5345 Atlanta Hwy Montgomery, AL. 36104 (334) 386-7656 sfoster@faulkner.edu
Andy Meadows Alabama Department of Education Arts Education Specialist 50 North Ripley Street Montgomery, Alabama 36104 (334) 694-4768 ameadows@ALSDE.edu
Dr. Russell (Rusty) Logan Executive Director 2020 Janabrooke Lane Auburn, AL 36830 (334) 663-1702 executive_director@myamea.org
David Raney Assistant Executive Director 25162 Hudson Bend Athens, AL 35613 (256) 651-8223
Dr. Rob Lyda Immediate Past President Cary Woods Elementary School 715 Sanders Street Auburn, AL 36830 334-663-0898 past_president@myamea.org
Heather Holmes Recording Secretary Oak Mountain Middle School 5650 Cahaba Valley Rd Birmingham, AL 35242 205-682-5210 recording_secretary@myamea.org
Jordan Ford President, Alabama Orchestra Association Thompson Middle School (205) 685-8100 jkirchner.1223@gmail.com
Dr. Meghan Merciers Alabama cNAfME Advisor University of North Alabama UNA Box 5040 142 Music Building Florence, AL 35632-0001 (256) 765-4518 mmerciers@una.edu
Pat Stegall Treasurer-Registrar AMEA Registration PO Box 3385 Muscle Shoals, AL 35662 (256) 627-4661 treasurer_registrar@myamea.org
Garry Taylor Editor, Ala Breve 1600 Manor Dr. NE Cullman, AL 35055 (256) 636-2754 editor@myamea.org
ala
MUSIC DEGREES OFFERED
Bachelor of Music Education (Choral Track)
Bachelor of Music Education (Instrumental Track)
Bachelor of Arts (Choral Track)
Bachelor of Arts (Instrumental Track)
WHY MUSIC EDUCATION?
P-12 Teacher Certification
Projected job growth from 2024-2034 - 4%*
Share your love of music with the next generation
Focus on choral or instrumental music ... or both!
MUSIC FACULTY
Dr. Art Williams, Chair awilliams@faulkner.edu
Dr. Allen Clements aclements@faulkner.edu
Dr Stephen Foster sfoster@faulkner edu
Dr. Robby Glasscock rglasscock@faulkner.edu
Mr. Michael Bird mbird@faulkner edu
Faulkner Marching Eagles
Faulkner Singers
Faulkner Jazz Band
Faulkner University Chorus
Concert Band
MUSIC STUDIES
Voice
Piano
Woodwinds
Brass
Percussion
Theory
History
Sight Singing Orchestration
Conducting
WPat Stegall AMEA REGISTRAR
e are headed back to Birmingham! It is not too early to start thinking about attending our AMEA Conference in January, 2025. Just remember, you must join NAfME, and you should pre-register if possible. A healthy organization is always concerned with growth and development, and the AMEA board is interested in growing our organization, and for getting all music teachers in Alabama involved in professional development through AMEA and NAfME. You can help increase our membership by communicating the benefits of membership to our colleagues. When you are joining or renewing your membership, think of those music teachers in your area that may not be active members, and send them a message inviting them to join! You could send an email with their contact information to me at treasurer_registrar@ myamea.org and I will invite them!
Remind your colleagues to join. Make sure to include the new music teachers, be involved as a mentor to the young music
AMEA PRESIDENTS
1946 Yale H. Ellis
1948 Walter A. Mason
1950 Vernon Skoog
1952 John J. Hoover 1954 Lamar Triplett
1956 Carleton K. Butler
1958 Mort Glosser 1960 Wilbur Hinton
1962 Lacey Powell, Jr. 1964 G. Truman Welch
1966 Jerry Countryman
1968 Floyd C. McClure 1970 Jerry Bobo
teachers and invite the inactive music teachers that you know. If you just retired, keep coming to the conference (registration is free for you) and renew your NAfME membership at a reduced rate.
Renew your membership now at www.nafme.org . Membership in NAfME is required for participation in state MEA sponsored events like the AMEA Conference, the Elementary Division Fall Conference, All-state and Musical Performance Assessments. Joining NAfME secures your membership in AMEA and in your division.
Register soon for the 2025 AMEA conference online at www. myamea.org You will find it is easy and will save you time and money. Reunite with friends and colleagues from all over the state in January. Rejuvenate your energy, renew your enthusiasm, and join us as we gather again in Birmingham.
- PAST TO PRESENT
1972 Frances P. Moss 1974 George Hammett
Frances P. Moss
S. J. Allen 1978 W. Frank McArthur
Paul Hall
Lacey Powell, Jr.
Johnny Jacobs
Merilyn Jones 1988 Ronald D. Hooten
1990 Ken Williams 1992 Dianne Johnson 1994 James K. Simpson
1996 Johnnie Vinson
1998 Michael Meeks
2000 John McAphee, Jr.
2002 Tony Pike
2004 Becky Rodgers
2006 John Baker
2008 Pat Stegall
Steve McLendon 2012 Sara Womack
Carl Hancock
Susan Smith
Greg Gumina
David Raney
Rob Lyda
Phil Wilson
Dr. Phil Wilson, AMEA PRESIDENT Together We Are Resilient
Resilient: If the recent past has taught us anything, the lesson gleaned is the Alabama Music Educators Association is resilient. From COVID shutting down our conference, to putting on a very successful virtual conference the following year, and even having to reschedule performance groups after canceling our 2024 conference due to weather concerns, this association has shown time and time again that together we are resilient. I am honored to have been elected to lead such an organization. With your support, we will continue the tradition of making music education accessible to all students in Alabama and modernizing our association.
For many of us, the 2024-2025 school year has already begun with choir camps, band camps, and countless other activities currently in full swing. On social media and in conversations with friends and colleagues, I have been inspired by the efforts you have gone through to improve your practice via professional development from across the state and even across the nation. Whether you spent your time learning new things to incorporate this upcoming school year, or relaxed and reflected on what you need to change, you are already making an impact in the lives of students, many of whom you will meet for the first time soon. Thank you for what you will do for our students.
AMEA Summer Board Meeting
In early June, your AMEA Governing Board met to discuss activities for the upcoming year. Each division was well represented and presented a plethora of planned activities, as well as success stories of events that
have already taken place. As you will read in the articles following this one, there are musical activities planned for every teacher, age group, size, geographic location, and discipline. If you have other activities you would like to propose to further modernize our association and reach more students and/or teachers, please do not hesitate to reach out to the division presidents or to me.
During the summer meeting, we discussed and voted to make all Ala Breve Magazines digital. Last year we experimented with three digital copies and one printed version for the conference. Since many of us always carry some form of digital device with us, the informative Ala Breve articles will now always be at our fingertips for quick and easy access.
After making the very painful, but proper, decision to cancel our 2024 professional development conference due to weather concerns, we learned that our members were getting information concerning the association from multiple places like various social media sites, the website, and word of mouth. Unfortunately, due to algorithms on certain social media sites that we utilize, we discovered members may not be getting the most current information in real time. To alleviate this, we will utilize our website as the most current, real-time source of information. Our Assistant Executive Director David Raney is a whiz at updating the website and can update it more quickly than waiting for the proper information to hit your timelines on social media. So, moving forward, if in doubt, check the website.
Speaking of the website…have you had a chance to peruse our newly redesigned
website? www.myamea.org. David has been quite busy organizing and building our new website to make it user-friendly and accessible. Trying to remember the title of an Ala Breve article you read in 2010? Check the Ala Breve archives tab! Need to know the date of the elementary All-State honor choir? Check the front page for a calendar of events! Currently, a lot of information has already been added to the website, but please be patient as the website will be a continual work in progress.
NAfME National Assembly and Hill Day 2024
Dr. Rusty Logan, Dr. Shane Colquhoun, and I traveled to Reston, Va to participate in NAfME’s National Leadership Assembly and Hill Day. Leaders of music educator associations (MEAs) from across the United States gathered to materialize topics covered in NAfME’s strategic plan and blueprint, and how to practically enact these initiatives in our states. Throughout this working assembly, we discussed and provided insight on advocacy issues plaguing our states, music teacher recruitment and retention, ways NAfME can better support our MEAs, and various other topics. NAfME President, Dr. Deb Confredo, provided words of inspiration and encouragement as we mingled with other states. During the National Assembly, we also met in regional meetings. I was honored to participate in the Southern Division meeting led by our very own Susan Smith. You will hear more from her and her vision for the Southern Division in the very near future. I will say after meeting with and hearing some of the operational issues other MEAs are having, I am honored and proud to be a member of AMEA!
AMEA President Dr. Phil Wilson, Executive Director Dr. Rusty Logan, and NAfME Council of Innovations Chair Dr. Shane Colquhoun.
One of the highlights of the National Assembly was traveling to Washington, DC to meet with our state representatives. Dr. Colquhoun and I had the great opportunity to meet with staffers from Representatives Robert Aderholt, Terri Sewell, Gary Palmer, Mike Rogers, and Barry Moore. During these meetings, we were able to advocate for continued support for Title I, II, and IV funds, the Inclusive Arts Education Act, and the Arts Education for All Act. We also reported the lucrative financial impact the music industry contributes to our state so they could see the direct impact our work has on the state. The staffers were welcoming to our delegation and many signaled continued support of the legislation from our representatives.
2025 Professional Development Conference
Plans are already underway for what we know will be a memorable 2025 Professional Development Conference. We are excited to welcome you back to Birmingham at the BJCC on January 23-25, 2025. Division presidents and their committees are diligently reviewing session proposals and
performance applications for this conference. The sessions and performing groups will be announced in the next edition of the Ala Breve, however, I am delighted that our guest for the week will be Dr. Tim Lautzenheiser. Dr. Tim has announced his forthcoming retirement, so we wanted to make sure to bring him back “home” one more time. During the week, Dr. Tim will present several sessions, interact and encourage our Future Alabama Music Educators (FAME), and keynote on Friday. You will not want to miss him! I am also pleased to announce that our featured performers will be The Aeolians of Oakwood University from Huntsville. This group was programmed to perform at the 2024 conference, but I did not want the opportunity to pass without us hearing this amazing group. Stay tuned for more information.
During the National Assembly, President Confredo strongly encouraged the leadership of our MEAs to intentionally make positive contact with the collegiates who were present as they are the future of our profession and our association. I want to echo her sentiment and encourage you during the conference, and throughout the year, to intentionally seek out and contact the collegiate members of our association. As Alabama faces issues with filling classroom teaching positions, we as music educators are not exempt. To keep music alive and thriving in our state it is going to take the effort of our current and retired members to help train up the next generation of music educators. The conference is a great way to begin the process of making this happen. Also, if you know of someone who is a first-year teacher, or early career teacher, and you are mid-career to retired, invite them to coffee. LISTEN to their issues and ideas and share yours with them. I think we would be surprised at how far a little bit of acknowledgment can and will go.
Vision
The 2024-2025 school year will begin my 24th year of teaching with experience at the high school band and choir, elementary, and collegiate levels. Along the way, I’ve been blessed to meet and learn from superior teachers from all walks of life, who invested time and attention to ensure I was growing at an appropriate rate and continuing to hone my teaching craft. While I still have a long way to go to be considered superior, I am thankful for those who continue to help me. As I am able, and as often as I can, I want to help others like I have been helped.
My vision for AMEA is for this association to serve as a beacon of light to those who may need assistance, and to attract other forms of light. While we may not be able to solve every problem that comes our way, we will examine them and give it our best try. I encourage each of you to seek out mentor/mentee relationships to help move our profession forward. Time is an issue facing everyone, but I encourage each of you to carve out time to reach out even if it is once a month. Every voice is important, regardless of the level of experience you may have, so we want to highlight all voices from across our state. Seasoned teachers can still learn something from new teachers, and new teachers DO have something to teach seasoned ones. The handle of our website is MYamea.org I want to encourage you to own the “MY” portion of AMEA and continue to make this the best association ever.
Stay resilient and have a fantastic school year. Know that we are here if you need us.
Phil R. Wilson, President
AMEA delegation meets with members of Congressman Gary Palmer’s staff
AMEA delegation meets with members of Congresswoman Terri Sewell’s staff
AMEA delegation meets with Congressman Mike Rogers’ Legislative Assistant
AMEA delegation meets with Congressman Robert Aderholt’s Legislative Assistant
Alicia Luttrell
Elementary/General
You Are an Expert Elementary Music Teacher!
It is that time of year again! After a summer that included some rest, some travel, and some work, I feel ready to tackle the new year, welcome new and returning students, and get into teaching and preparing for performances. Are you refreshed and ready to go? Ready or not, here we go! What about all you “new” elementary music teachers? Have you been preparing lesson plans and evaluating performance music in anticipation of the school year? I remember my first few years of teaching and how overwhelming it was. I distinctly remember questioning whether or not I
was really qualified for this job. I knew other expert music teachers and felt in no way competent or skilled enough. Actually, this is the mindset that makes us good musicians. It is the nature of our craft to be critical and always look for the next level of perfection. Our focus on how to play or sing as near perfectly as possible is what shapes us into better musicians. However, as a teacher, it can cause serious anxiety. It is called Imposter Phenomenon or more commonly Imposter Syndrome. In fact, I was recently talking with my husband about some aspect of my job
as a teacher/musician when he told me I had “Imposter Syndrome.” What? I most certainly do not. I am a qualified music teacher, but he had me thinking. I do often feel like a fraud, hoping inwardly that no one will notice that I am not really that good, not that smart, not so accomplished, or not as qualified as others.
There are a number of reasons I think elementary music teachers in particular might be susceptible to Imposter Syndrome. For one, our university programs taught us to be the best musicians possible, but did they train us to teach music to little children? While in college, we were instructed on best practices and pedagogical methods, but we got far too little exposure to the elementary music classroom. In fact, many of us teach well outside our specialty area. Some of us are band or orchestra specialists who conduct elementary choirs and teach children to sing. Some are vocalists who facilitate elementary bands.
Also, music teachers commonly feel they do not belong in the same academic circles as teachers of core curriculum. Do other teachers really value what we teach, or are they just thankful we take the students so they can have their planning time? It is all too easy for us to slip into a mindset that devalues music education and our worth as educators.
In addition, social media can have devastating effects on music teachers who see all the wonderful activities and performances posted by others. Then, we ask ourselves if we can really achieve all that with our students. It can be especially difficult if our administrators value flashy student performances over student growth and learning.
Actually, I am not so sure feeling like an imposter is all that bad. It can possibly cause us to be more thoughtful, considerate, and creative. A little anxiety can open our minds to innovative ideas and solutions and might even motivate us to accomplish extraordinary things as long as it does not become debilitating. For some, just knowing the phenomenon of Imposter Syndrome exists and that other people in our field experience it can be rather comforting. We must remember that feelings of uncertainty are a normal part of life for all professionals.
Furthermore, we must be careful that while we as musicians strive for some level of perfectionism, we do not impose that expectation on our students. We must have realistic expectations as educators and value the process over the final product. All students are different, and each school is unique. As elementary music educators, the goal is for students to have positive experiences with music and to learn to value music in their lives.
Remember to validate character over achievement. It is essential that we praise effort and growth rather than aptitude or talent. Remind students that mistakes are proof they are learning; students who do not try do not make mistakes. Help students identify their strengths
and reflect on their own abilities all the while decreasing the fear of failure.
There are a few things you can do daily to remind yourself that you are NOT an imposter. You are, in fact, a highly qualified music educator professional. Keep a journal, and record when students tell you how much they love music or that you are their favorite teacher. Write it down when an administrator compliments your student performances. Keep those emails from parents thanking you for your time and efforts with their children. They are all wonderful reminders that what you do really matters. If needed, take a social media break, and focus on your own achievements. Reflect on your training. Look at how far you have come. Remember all the years of learning and practicing. No doubt, you did not become an expert overnight. Think about all the blood, sweat, and tears. You are an accomplished elementary music teacher! You have so much to offer your students!
Elementary/General Division Leadership (June 2024 - May 2025)
President - Alicia Luttrell
President-Elect - Jason Jackson
Treasurer - Devin Lacey
Secretary - Melissa Galanopoulos
Past President/All-State Director - Sarah McLendon
Festival Director - Taylor Knupple
District Chairs (June 2024 - May 2025)
District 1: Lea Hoppe and Viktoria Truesdail
District 2: Karen Morgan
District 3: Trudye Confessore and Kris Lindley
District 4: Laura Clevenger
District 5: Katie Boyd
District 6: Christy Clark
District 7: Kristen MacQueen
District 8: Andrea Marsh
Landmark Music Festivals Landmark Music Festivals
Festivals
Landmark Tour & Travel’s Music Festival Division has more than twenty years experience planning student tours. Landmark’s team of expert travel professionals can customize your tour to any major choral or instrumental festival at any location that you choose.
IATAN
Choice Music Festivals • Cruise Festivals • Festival Disney Festivals of Music • Field Studies Carnegie Hall Performance Fiesta-val Music Festivals • Heritage Festivals Manhattan Concert Productions • MidAmerica Productions Music in the Parks • OrlandoFest • Music USA Orlando Southern Star Music Festival . . . AND MORE
Destinations
Atlanta, GA • Branson, MO • Chicago, IL • Gatlinburg, TN New Orleans, LA • New York, NY • Orlando, FL Saint Louis, MO • San Antonio, TX • Toronto, ON Washington, DC • Williamsburg, VA . . . AND MORE
Sample itineraries are available for each destination. If the festival or destination of your choice is not listed, call for a custom proposal.
Contact SarahMartha Parker at (205) 458-0086 or sarahmartha@travellandmark.com to begin planning your tour today!
Jordan Ford Alabama Orchestra Association
Dear music educators,
Ihope everyone is enjoying a much-needed rest before the thrill of the school year begins. The Alabama Orchestra Association has an exciting year ahead, so please make sure you keep up with member emails, social media, and our website!
New Executive Boards
On June 1, we welcomed our new Executive Board, elected during our general membership meeting at the Alabama All-State Orchestra Festival. Their bios were included in the May/ June 2024 Ala Breve, but we are excited to officially welcome them to their roles.
President: Jordan Ford, Alabaster City Schools
Past-President: Joe Lee, Huntsville Youth Symphony
Vice-President/President-Elect: Keith LaBenne, Gadsden City High School
Treasurer: Tricia Marotz, TM Music Studio
Secretary: Rachel Christmas, Ramsay High School
AMEA Conference
We are so excited to welcome the 2025 AMEA Conference back to Birmingham. Since the 2024 Conference couldn’t happen, our clinician Brenda Brenner graciously agreed to join us in January 2025. Brenda Brenner is Professor of Music and Eugene O’Brien Bicentennial Executive Associate Dean (Interim) at the Indiana University Jacobs School of Music. She specializes in string music education, teaching applied violin, as well as courses in violin and string pedagogy. The sessions Dr. Brenner will be presenting will address basic setup procedures for integrating ideas into literature. We are excited to gather with our AOA friends and friends from other divisions. This year felt empty without the chance to be with colleagues!
All-State Orchestra
AOA is also looking forward to returning to Tuscaloosa for All-State Orchestra in February. We have a great lineup of clinicians for each ensemble.
Festival Orchestra: Douglas Droste, Baldwin Wallace University Conservatory of Performing Arts
Sinfonia: Dr. Tim Heath, Wake Forest University
Consort String Orchestra: Matthew Nix, New Trier High School
Be on the lookout for audition materials and important dates!
Important Dates
• UNA Honors Orchestra: Oct. 11-12
• Strings/Harp/Piano Audition Videos: DUE Oct. 18
• Woodwind/Brass/Percussion Audition Videos: DUE Nov. 15
• All-Region Orchestra Festivals: Jan. 11-12
• All-State Orchestra: Feb. 13-16
• OMPA: April 4
Please feel free to contact any of the Executive Board with questions you may have. We are here to support the music educators of Alabama!
Respectfully, Jordan Ford
AOA President
Dr� Brenda Brenner 2025 AOA Featured Clinician
Stephen Foster Higher Education
WHAT WE DO IS NOT JUST A JOB
It is with great expectation and excitement that I write my first article as President of the Higher Ed. Division of the Alabama Music Educators Association. I am also proud to introduce our President-elect Dr. Ted Hoffman and our Secretary/ Treasurer Dr. Brandon Slocumb. I would like to acknowledge and thank our immediate Past-President Dr. Carly Johnson.
A new academic year is upon us. There is excitement in the air, not only from the students but from us as well. This year is to be my forty-first year in the classroom and I am excited for several reasons that I would like you to consider.
First, I get a whole new group of students that I will have the opportunity to get to know and also learn from. Every new class brings students who are unique from any I’ve ever taught before. They bring unique life experiences and insights that shape the way they learn about and interpret music. Every new year keeps me on my toes and that is exciting.
Second, I get to see when the “light bulb” moment happens, when a new group of students suddenly understand the new concept we are
covering (I teach music theory 3&4). How exciting is it when you suddenly understand that elusive concept? Being a catalyst in helping them understand is powerful.
Third, each year I am privileged to see the progress of all the students who are returning to the program and in their second, third, or fourth year of study. I get to evaluate their progress and then develop a plan to get them or keep them on track to where they need to be now and where they need to be at the end of the semester. This is exciting and also challenging since there are no two students who are exactly the same or at exactly the same place.
Fourth, I am excited for the seniors. This group is at the culmination of their studies, performing their Senior Recitals, student teaching, and preparing to walk the line for graduation. The excitement is contagious. Talking with the students about their plans and dreams brings back memories of those plans and dreams I possessed for myself. I am excited to watch them after they graduate and see where they end up and how well they have prepared for their career.
Fifth, I get to watch those who have gone before. It is humbling to have former students text, email, or call me to discuss something that is going on with them and ask for my advice as to how they should handle it or just to discuss with them their programs and how they are going. I really love to watch their concerts and witness their accomplishments.
The point I hope I have made is that what we do is not just a job. We are training and preparing the next generation of music educators. For them to be successful, we as teachers need to be vigilant, resourceful, knowledgeable, aware, up-to-date, and caring as we lead them down this path of success. We also need to be collaborative with our peers to improve our teaching and share what is successful for us. We each have something to learn but we also each have something that others can learn from us.
If you haven’t been in the past, let me encourage you to be active, vocal, and collaborative members of AMEA and be a part of the encouragement and improvement we strive for in the Higher Education Division of our state AMEA association.
o v e r 3 0 0 u n d e r g r a d u a t e a n d g r a d u a t e m u s i c
. S
p e r f o r m e r s . T h e m u s i c d e p a r t m e n t o f f e r s i t s
m a j o r s a m p l e o p p o r t u n i t i e s t o d e v e l o p t h e i r
k n o w l e d g e a n d m u s i c a l s k i l l s t o b e c o m e
p r o f e s s i o n a l e d u c a t o r s a n d m u s i c i a n s K e y
c o u r s e s f o r a l l m u s i c m a j o r s a n d m i n o r s a r e
M u s i c H i s t o r y , M u s i c T h e o r y , M u s i c
T e c h n o l o g y , C o n d u c t i n g , A p p l i e d L e s s o n s ,
a n d E n s e m b l e s
DEGREE PROGRAMS IN MUSIC
BACHELOR OF ARTS IN MUSIC
-Music Education with Instrumental or Vocal Concentration
-General Music with Instrumental or Vocal Concentration
-Performance with Instrumental, Vocal, Piano, or Jazz Concentration
MASTER OF ARTS IN MUSIC
-Instrumental Music Education
-Instrumental General Music V l M i Ed ti
MINORS
-Music
-Music Technology -Jazz Studies
Amanda Slay Alabama Vocal Association
Take every opportunity to involve yourself and your students in this year’s AVA events
Greetings to all! I am currently writing this article after having spent 12 days traveling with the Hoover High School choir in France and, unexpectedly, Holland. If you are curious about the unexpected part, I hope I will have the opportunity to share the whole story with you at an event this year. Wherever life’s path led you this Summer, I am grateful it brought you back to a new school year! This year will mark my 16th first day of school as a teacher and I feel just as nervously excited now as I did on my 1st. I am also honored and humbled to begin my term serving as the Alabama Vocal Association President. My intention as the AVA President is to listen to the needs and concerns of the membership, to act in the best interest of our organization, and to support the teachers and students who participate in choral music education in our state. We have a lot to look forward to and I hope you will take every opportunity to involve yourself and your students in this year’s AVA events.
Summer Board Meeting
The AVA handbook is revised every even numbered year and I’d like to personally thank the board for their tedious and steadfast work reading through and updating the general membership and board handbook. As a result of our revision process, there are several proposed changes to the bylaws. The proposed changes will be emailed
to the membership and voted on at Fall Workshop.
Based on the feedback and experience of the membership, the board spent a considerable amount of time discussing the All-State audition process. The current process has created a challenge in scheduling with regards to how long it takes for students to audition and stay on schedule for the day’s auditions. Our discussion was driven by three main factors: efficiency, rigor, and fairness. The board has come up with a plan that is intended to ensure auditions are conducted in a timely manner, demonstrate students’ musical proficiency of the assigned repertoire, and maintain continuity and integrity in the audition process. The new audition process will be as follows:
● Each student will sing selected measures from 3 of the 6 assigned repertoire in addition to Alabama.
● The 3 auditioned songs will be selected by the festival clinicians.
● Every student will sing selected measures of Alabama.
● Students will not know which of the 3 songs will be selected until they enter the audition room. Consequently, students will be required to learn ALL 6 selections prior to the audition.
Please know that much discussion and time went into this topic. We are hopeful this new procedure will aid in creating a more efficient All-State audition process while also providing a rigorous and meaningful musical experience for all students. We will discuss this change in more detail at Fall Workshop.
The board reviewed and approved all repertoire selections for the 2025 All-State festival. This year’s clinicians have selected excellent repertoire for our students and I cannot wait for the students to sign up and get started learning. The 2025 All-State clinicians are:
● MS Mixed: Victor C. Johnson
● MS Treble: Sophia Miller
● HS TTBB: Dr. Brian Murray
● HS SSAA: Dr. Joni Jensen
● HS SATB: Dr. Gary Packwood
More information is available about the clinicians on the Alabama Vocal Association website.
At the summer board meeting we also welcomed our new Executive Secretary, John Kincaid. John is the choir director at Hoover High School and has been an active member of the Alabama Vocal Association for more than 25 years.
Please note that the new address for all AVA event checks and registration is 4921 Twin Pine Circle Hoover, AL 35226.
Fall Workshop
Thank you to Dr. Scott Sexton for his help in securing Huntingdon College for the AVA Fall Workshop event on Friday, September 6th. I encourage everyone to attend Fall Workshop. It is an excellent way to connect and collaborate with the choir directors in our state, discover new teaching methods, and receive information about all the things going on in the AVA. In addition to various teacher lead interest sessions, Dr. Emily Burch will be our clinician for the day. She will present sessions on
vocal technique, engaging students in warm-ups, creativity, and improvisation. Dr. Burch will also present a session based on the book she has recently coauthored titled, The Business of Choir, where she has written on advocacy, recruitment/retention, fundraising, and project management. You will not want to miss this wonderful professional development and networking opportunity.
Please know that the AVA board is diligently working to provide the best opportunities for teachers and students. Feel free to reach out if you see any area of our organization where you feel you can serve, or if you have any questions, concerns, or suggestions. We all look forward to hearing from you
Virtual District Meetings
I August 8, 4:00pm
II August 13, 4:00pm
III August 15, 4:00pm
IV August 12, 4:30pm
V August 5, 4:00pm
VI August 7, 4:00pm
VII August 6, 3:30pm
2024-2026 Governing Board
Amanda Slay, AVA President: amanda.slay.ava@gmail.com
Zachary Banks, AVA President-Elect: zachary.banks.ava@gmail.com
Hilen Wilson, AVA Vice President: hilen.wilson.ava@gmail.com
Kate DuPuis, AVA Recording Secretary: kate.dupuis.ava@gmail.com
Andrew Mills, District I Chair: andrew.mills.ava@gmail.com
Frank Andrews, District II Chair: frank.andrews.ava@gmail.com
Sarah Timothy District III Chair: sarah.timothy.ava@gmail.com
Melissa Bonds, District III Co-Chair: melissa.bonds.ava@gmail.com
Holly Luke, District IV Chair: holly.luke.ava@gmail.com
Debbie Flynn, District V Chair: debbie.flynn.ava@gmail.com
Traci Fuller, District VI Chair: traci.fuller.ava@gmail.com
Caylen Stewart, District VII Chair: caylen.stewart.ava@gmail.com
and serving you this year. Each district chair will host a virtual meeting at the beginning of August. Please attend in order to meet your District Chair, receive important information for the year, and ask questions.
2024-2025 AVA Events
Please visit the AVA website: alabamavocalassociation.org to find the dates for all events for the year. Be aware now of all registration deadlines and plan ahead to avoid paying any late fees.
I hope you have a productive and smooth start to your school year. See you at Fall Workshop!
Andrew Mills
Frank Andrews
Sarah Timothy
Holly Luke
Debbie Flynn
Traci Fuller
Caylen Stewart
Lori Hart Alabama Bandmasters Association Gratitude In All That We Do….
I closed my last Ala Breve article by expressing my profound gratitude for the dedicated members of the entire ABA Board, who tirelessly work behind the scenes to ensure our students have opportunities to grow and experience musical moments that they will cherish for a lifetime. As I reflected, these past few days, after our Summer Board Meeting, I once again felt an overwhelming sense of gratitude. This reflection led me to consider how essential gratitude is in various aspects of our lives. Gratitude is the heartfelt appreciation for the positive aspects of life, whether big or small. It involves recognizing and valuing the good things that come our way, fostering a sense of contentment and well-being. By cultivating gratitude, we can shift our focus from what we “lack” to what we “have”, enhancing our emotional resilience and deepening our connections with others. Practicing gratitude regularly can transform our outlook, making us more mindful and appreciative of the present moment. Take a moment to think of three things you are grateful for. I am grateful for my family and friends. At my age, I am grateful for the opportunity to just wake up every day and make a difference in someone’s life. Most of all, I am grateful for the life I have been given and for the many people who have helped mold me into the person I am today. As we begin a new school year, it is important for us as teachers to reflect on our gratitude and use that to guide us in our classrooms and all areas of our daily lives.
The Summer Board meeting/work session was outstanding! Things were different this year, due to not having the conference, but it allowed us time to really dig into some training and work on making the Alabama Bandmasters Association better. Some of the highlights from our meeting in Montgomery included extensive training in using our Website and Google Drive, New Teacher Mentorship, and an introduction and training session for our new All State District Audition procedures. A huge shout of gratitude to Chance Nelson who has put in hundreds of hours getting us ready to move forward with this! Our All-State Conductors for 2025 are Red Band- Dr. Eugene Coporon, White Band-Randall D. Standridge, Blue Band- Dr. Peter Boonshaft, and Middle School - Dr. Mary Land and William Owens
ABA President-Elect Keith Anderson brought forth several recommendations from the Music Selection Committee, including a revision of Middle School Scale requirements for All-State, along with revisions to the audition music, additions to the Solo Festival music list, the MPA cumulative music list, and the addition of a philosophy, judging rubrics and guidelines for Solo Festival adjudication.
Jazz Chairman, Nick McDonald, discussed the success of the All-State Jazz Bands and the Inaugural Jazz MPA event. Keep a lookout for the new AllState Jazz requirements on the alaband. org website, and I am excited to say the
2025 Jazz Clinicians are going to be awesome!
Past President, Joel Henson presented the ABA Board with proposals from the Adjudication Committee including a revised Adjudicator list, MPA Rubric, Guiding Questions for MPA, and more defined Sight Reading procedures. All of this will move the ABA toward making our state Music Performance Assessment as consistent as humanly possible.
The Board voted to suspend the Summer Conference indefinitely due to the continued concern for the financial feasibility of the event. The Board approved Mobile to host the 2027 and 2028 All-State Band Festival, with the dates being April 21-24, 2027, and April 19-22, 2028. The Nominating Committee for our upcoming elections for PresidentElect, Recording Secretary, and Jazz Vice-Chairman are as follows: District I and II: Chairman Jonathan Steinman Hayden High School, District III and IV: Corinth Lewis Hewitt Trussville Middle School, District V and VI: Dakota Bromley Jemison High School and District VII and VIII: Jonathan Chance Pike County High School. If you have someone you would like to nominate for one of our offices, please contact one of the committee members. Their contact information is in the ABA Directory on the website. These elections will take place at our Business Meeting on Saturday morning of AMEA. We will also vote on the two
Proposed Legislation changes that were presented to the Board. (see below)
So as you can see, some exciting things are happening within our great organization and it is vitally important that each one of you, read the updates on the website. Your District Chairman and Vice-Chairman have been given information to pass on to you, and you must adhere to it. This doesn’t just affect you, it also affects your students. Be grateful for each and every opportunity you have to make a difference in their lives! Be willing to step up and mentor one of our young teachers. Make plans to attend our annual AMEA Professional Development Conference in Birmingham on January 23-25, 2025! We have much to be grateful for and I am grateful for each of you! I close with these wise words from John F. Kennedy, “As we express our gratitude, we must never forget that the highest appreciation is not to utter words, but to live by them.” Please let me know if there is anything I can do for you! May each of you have a wonderful beginning to the upcoming school year!
Section 1c Currently Reads:
Proposed Legislation
Changes 2025
Article XVI, Section 7, j - No “approved lists” shall be required. NAFME’s “Ensemble Music For Wind and Percussion Instruments” and the University of Texas “Prescribed Music” catalogs may be helpful in selecting material. It shall be the responsibility of each director to guide his performers so that they make wise choices of literature. Adjudicators will have the right to lower ratings for poor choices.
Add - It shall be the responsibility of each director to guide their students so that they make wise choices of literature, including ensuring that musical selections are from officially published sources intended for the solo and ensemble performance.
Article XV All-State Festival and Auditions
The All-State Band Festival will include five bands: High School Red Band, High School White Band, High School Blue Band, Middle School Red Band, and Middle School White Band. For the High School All-State Bands, those students with the highest scores will be assigned to the Red Band; those with the next highest scores will be assigned to the White Band; those with the next highest scores will be assigned to the Blue Band. For the Middle School All-State Bands, students will not be assigned to a band until after the state level All-State auditions. After the state level All-State auditions, the first chair player in each section will be placed in the Middle School Red Band, the second chair player in each section will be placed in the Middle School White Band, and the remainder of the players will be placed in the Middle School All-State Bands in chair order in an alternating fashion (ex: third chair player goes to Middle School Red Band, fourth chair player goes to Middle School White Band, etc.). Students in the eighth grade and below will be eligible to audition for either the Middle School or High School All-State Bands, but no student may audition for both. Third year provision – Any ninth grade student enrolled in a band program in which band begins in grade 7 will be eligible to try out for the Middle School All-State Bands. All other ninth graders must try out for the High School All-State Bands. The Alabama All-State Jazz Bands will include four bands: Gold Band, Silver Band, Bronze Band and Middle School Band. Those students with the highest scores will be assigned to the Gold Band; those students with the next highest scores will be assigned to the Silver Band; those students with the next highest scores will be assigned to the Bronze Band. Students in the eighth grade or below will be assigned to the Middle School Band. The third year provision applies here also. The Gold, Silver, Bronze, and Middle School Bands will rehearse and present their concert at the Alabama Music Educators Association In-Service Conference each year.
Section 1c Proposed Changes: The All-State Band Festival will include five bands: High School Red Band, High School White Band, High School Blue Band, and two middle school bands named after their clinicians for the given year. For the High School All-State Bands, those students with the highest scores will be assigned to the Red Band; those with the next highest scores will be assigned to the White Band; those with the next highest scores will be assigned to the Blue Band. For the Middle School All-State Bands, students will not be assigned to a band until after the state level All-State auditions.
Change to: After the state level AllState auditions, the first chair player in each section will be placed in the Middle School Band of the clinician with the last name that comes first in the alphabet, the second chair player in each section will be placed in the Middle School Band of the clinician with the last name that comes second in the alphabet. The remainder of the players will be placed in the Middle School All-State Bands in chair order in an alternating fashion. Students in the eighth grade and below will be eligible to audition for either the Middle School or High School All-State Bands, but no student may audition for both. Third year provision – Any ninth grade student enrolled in a band program in which band begins in grade 7 will be eligible to try out for the Middle School All-State Bands. All other ninth graders must try out for the High School All-State Bands. The Alabama All-State Jazz Bands will include four bands: Gold Band, Silver Band, Bronze Band and Middle School Band. Those students with the highest scores will be assigned to the Gold Band; those students with the next highest scores will be assigned to the Silver Band; those students with the next highest scores will be assigned to the Bronze Band. Students in the eighth grade or below will be assigned to the Middle School Band. The third year provision applies here also. The Gold, Silver, Bronze, and Middle School Bands will rehearse and present their concert at the Alabama Music Educators Association In-Service Conference each year.
Dr. Meghan Merciers
cNAfME Advisor
JP Aufdemorte cNAfME President
A NEW SEASON OF OPPORTUNITIES
We’re back! We hope everyone’s summers involved rest and rejuvenation, leading up to a year filled with growth and inspiration. One opportunity that will surely inspire you is our 2024 Alabama NAfME Collegiate Summit. This year’s event will be on Sunday, September 22nd, at the University of Alabama at Birmingham’s Hulsey Center for the Arts. The theme for this year is “Community.”
We may come from different universities and experience music in different ways, but our community is united in our passion for sharing the life-changing power of music through education. This year, Dr. Cara Morantz will be our summit keynote speaker, sharing her passion for music education and performance with our community of educators. She has served as the Assistant Director of Bands at UAB since 2014 and taught middle and high school bands in Cobb County, Georgia, for nine years before her time in higher education.
The summit will also have instrumental, vocal/choral, and general/elementary music breakout sessions. Ms. Kim Bain will lead the instrumental session, focusing on jazz. Her skill as an accomplished saxophonist and her experience as a director will be an incredible resource for attendees. Under her leadership as
Director of Bands at Louis Pizitz
Middle School in Vestavia Hills, Alabama, the band performed at numerous conferences, including the prestigious Midwest Clinic, and they were awarded the John Philip Sousa Sudler Cup.
Ms. Deanna Bell is leading our elementary/general music session, and her valuable expertise will be an excellent opportunity for attendees to draw upon. She teaches at Vestavia West Elementary and is an adjunct music education professor at UAB. She has received many awards, including the Vestavia City Schools
Elementary Teacher of the Year. Our vocal/choral session will feature clinicians focusing on show choir at the secondary level.
The summit will conclude with a panel discussion and Q&A between early-career educators and attendees, followed by a networking dinner. We will soon share registration information and more details about our speakers via our Instagram account @cnafme_ al. We hope this event connects and inspires our colleagues throughout the state. See you on Sunday, September 22nd, at UAB!
Eleanor Nation FAME Scholarship Essay
Why I Want To Be A Music EduCator
by Mary Cole Kinney
For me, there was not an exact moment when I decided that I would become a music educator. After years of being immersed in the art form, I have always known that music and being a band member would impact my life in innumerable ways. Having had an excellent experience in a renowned band program, I have experienced firsthand the impact that music educators have on their students and the importance of music education in schools. However, I have come to realize, I can make a difference in the lives of others through the vehicle of music education. My desire to become a music educator is not rooted in the desire to relive my high school experiences, but rather have a direct hand in shaping the lives of others. As I have reflected on my journey thus far and where that is taking me, I have found that my teachers have provided
me with opportunities to make mistakes in order to grow. I believe musicians are never going to expand their ability in music unless they are playing outside of their comfort zone. I believe that nurturing students into becoming uncomfortable to lead to growth should be the foundation of every music educator. I often reflect on what my goals are for my future classroom. I was raised in a phenomenal school system and band program; I not only had access to tremendous opportunities but also a wonderful community that supported the program’s musical growth. However, one thing that I have observed throughout my schooling is that my teachers prioritized not only my abilities academically but as a person. Having excellent examples of educators, I have often thought about what I want to emulate as a music educator. The most prevalent aspect
that I have observed in past educators in my educational career is how they make room for making mistakes. I have noticed throughout my schooling that by allowing room for students to make mistakes educators are in turn investing in their students.
Another aspect of being a music educator is allowing students to have a space to belong. So often in times today, students are faced with difficult situations that are socially and emotionally hard. Not only are music programs a space for personal and emotional expression, but music educators also have a direct influence on their students. One phrase that I specifically think of is “There is never a wrong time to do the right thing.” This is often heard in the Muscle Shoals High School band room. Learning that lesson at a young age allows me to
Editor’s Note: AMEA recently awarded the Eleanor Nation FAME Scholarship to Mary Cole Kinney, a 2024 graduate of Muscle Shoals High School. Scholarship recipients must have attended the FAME program and plan to major in music education at an Alabama university. Mary Cole plans to major in music education at the University of Alabama.
now see the importance of teaching life skills in the band room. Now knowing this, I will prioritize it with my students to not only emphasize integrity but also foster community. I also believe that creating community is an integral part of being a music educator. Music educators create environments where students feel safe to express themselves, make mistakes, and grow. Music educators have the opportunity to encourage community among students, where unity and collaboration are paramount. In music education programs, students encounter inevitable challenges, which ultimately lead to character growth and the gaining of life skills. Skills that students gain in music education extend far beyond the confines of the band room, shaping students into well-rounded individuals prepared for success in various aspects of life. Participation in musical ensembles pushes students to not only challenge their creativity, and discipline but also to develop teamwork, communication, and resilience, equipping them for success in various aspects of life. As a future music educator, I aspire to create an environment where students can thrive in all facets of their lives, especially musically and academically, but I primarily aim to help them become better people.
There is not an exact moment that I can pinpoint where I decided to become a music educator. However, I can tie my roots back to the band room because I grew up in the storage closets, as my father was a band director. I have constantly been surrounded by music throughout my life- I was even born in the middle of band camp. I have always loved the activity of band; throughout my middle and high school years. I have been able to participate in multiple concert and honors ensembles. I grew to adore honor bands and the
community surrounding them, but only understood the superficial level of music education. I found myself constantly talking to others about music and my band experiences, while simultaneously thinking about others. At that point in time, I wanted to be a band director- exclusively teaching the notes and rhythms of music. However, through the past year, I realized that teaching music is just the superficial level of becoming a music educator. There is an endless list of hats that a band director wears, but the one that I am interested in the most is investing in my students as humans. I often think about the person I was to the person that I am today and realize that the majority of that growth was because of my teacher’s investment in me as a person before a musician.
My desire to use my teaching career to positively influence others is the direct result of the profound influence that people in my life have had on my growth as a student, musician, and human being. I aim to dedicate my career to teaching and caring for my future students in a way that will leave a profound educational and personal impact on them. Having learned so much from teachers who have an enormous impact on their student’s success both inside and outside the classroom, I will make sure to do everything within my power to enable my students to reach their full potential. My goal is to give my future students the knowledge and chances they require to succeed in both- using music as a vehicle. My father and band directors have shown me what it means to leave a lasting impact on students and the weight that carries. As I enter this next chapter of my life, I am eager to mold futures and carry the same passion for music education as those who have come before me.
In music education programs, students encounter inevitable challenges, which ultimately lead to character growth and the gaining of life skills. Skills that students gain in music education extend far beyond the confines of the band room, shaping students into well-rounded individuals prepared for success in various aspects of life.
Teacher Profile
Ben Cook
Editor’s Note: Each Teacher Profile spotlights a music educator from across the full community of AMEA - new teachers, experienced teachers, retired teachers, and teachers from each of AMEA’s different divisions This issue features Dr Ben Cook, choir director at Hewitt-Trussville High School�
Briefly tell us about your current position, how long you’ve been there, and a little about your schedule.
I teach choir at Hewitt-Trussville Middle School. I’m finishing my sixth year at HTMS and have been teaching 17 years overall. I teach a Beginning Choir, Boys’ Choir, Girls’ Choir, general music exploratory, a sixth grade homeroom, and a study hall. I musically direct the spring musical at HTMS and—this year—HewittTrussville High School, as well.
I live in Trussville with my wife, Molly, and our children, Emma Kate, Hannah, and Sam.
Why did you decide on a career in music education?
I decided to pursue a career in music education as a high school junior, when I determined that the thing that brought me the most joy day-in and day-out was singing in the choir. That was the highlight of my school day, and I wanted a career where I could share that joy with other students like me.
Who are some of your teachers/colleagues that you would consider mentors and why?
I look up to too many colleagues to name! I’ll stick with the most obvious: Allen Gillespie, my high school teacher is a huge influence and role model in my career. In my current position, I’m blessed to work closely with him in Trussville City Schools and the Trussville Community Chorus.
Are there any embarrassing teaching moments you’re willing to share? What are they?
Tell us about your background – hometown, college, family, etc.
I hold music education degrees from the University of Montevallo (BME, 2006), Samford University (MME, 2012), and the University of Alabama (Ph.D., 2018). I am also a National Board Certified Teacher (2012, 2022).
I’m sure there have been plenty of momenmts that should embarrass me! The most recent that comes to mind was chasing school buses across the parking lot as they left me behind on the way to State Choral Performance Assessment about a month ago. I had returned inside to pick up some paperwork, and each bus driver thought I was on the other bus. I had to go to the office and call transportation to have one sent back to pick me up!
Name one accomplishment that fills you with pride so far in your career.
Earning my National Board Certificate and Ph.D. are personal milestones for me, but truthfully, knowing that I have helped students understand and love music is what makes me proudest.
What would your students be surprised to find out about you?
They’d probably be shocked to know how poor my study habits were in middle school and high school (and undergrad). I imagine it would also surprise them to learn that early in my career, I did not prioritize teaching sight-reading. Shame on me!
How do you spend your summer breaks?
I like to spend my summer breaks hanging out with my family and working with our local community theatre.
Are you involved in other music-related activities in addition to your teaching position? If so, please explain.
I founded and conduct the Trussville Community Chorus, I am the Music Minister and Chancel Choir Director at First Methodist Church of Trussville, and I musically direct productions for our middle and high schools and community theatre.
How about interests or hobbies not related to your teaching position?
I enjoy reading, playing tennis, playing games, and hiking. Lately, I haven’t had much time for these things, though!
What question do you wish I had asked but didn’t?
I always feel like people should ask more questions about my dogs. I have three miniature dachshunds: Clara, Pustard, and Henry.
PATRICK ROSZELL
Prioritizing Music Literacy Independence in Daily Beginner Band Instruction
By De’Shun J. Iverson
Ibelieve that early childhood teachers are the unsung heroes of modern education. These individuals are responsible for teaching our young students how to read and interpret the English language, layering the skills to do so in a logical sequence. We begin with the teaching and learning of letters of the alphabet in isolation. We demonstrate sounds that accompany each letter, and eventually (through slow and steady work and progress) our little ones can recognize, recite, and write out the alphabet. We continue this learning by combining the letters to create small words (known as ‘sight words’) and teach their meanings. We use these words to write sentences. We use these sentences to have conversations. As we learn more words and their meanings, we can use them to create and convey thoughts and ideas.
We eventually transfer the skills of word and sentence formation to sight reading written text, and then to comprehension. We assess whether students can pronounce words, the fluency of their reading skills, and whether they can interpret written text at first sight. By performing these tasks, the responsibility of independent reading is placed upon the student, requiring them to apply their knowledge of word construction and sentence use to demonstrate an understanding of text. The quality of their sight-reading abilities reflects how well prepared they are at using the layered skills above to interpret language. The students will develop an understanding and interpretation of the text only if they can read it on their own
If understanding the musical language is important for the student musician’s success, then we [music teachers] must approach its initial teaching from the most fundamental of pedagogical ideals: language.
For our students to understand and interpret the musical language, they must be taught to acquire it from its most basic to its most complex form, in a similar manner that early childhood teachers sequence the acquisition of the English language.
All too often in our young band rehearsals, we are plagued with students asking questions or making assertions like the ones below:
“What is this note?”
“How do you count this rhythm?”
“Can you sing this part so that I can hear how it goes?”
“I don’t know what that [symbol] means.”
If students are asking the questions or stating the ideas above, a few points can be argued:
(1) They have not been taught what the symbols or concepts mean (playing new music is not the first time that young musicians should see new terms or symbols), or;
(2) They do not know what the symbols or concepts mean because they are infrequently used or reinforced.
We often spend more time in young ensemble rehearsals teaching music reading skills as opposed to playing music (this is why they joined band!). We can be more efficient with music making and building ensemble sounds if we slowly and steadily teach a music reading sequence from the start of the beginner year with daily reinforcement. If not, students may encounter gaps in knowledge that follow
them through their musical journeys, creating literacy and performance challenges in more advanced music instruction.
“Functional music literacy should be prioritized in beginner band instruction every day.”
Before we discuss how we promote daily music sequencing in our program’s beginner classes, here are some misconceptions and concerns that I’ve found about the concept at large:
(1) Instrument pedagogy is NOT music literacy. Learning how to play the instrument and knowing how to read music are two completely different skill sets, and should be addressed separately;
(2) The method book is a supplementary tool. It is a part of the curriculum.
(3) Telling the students, “It goes like this,” means that they can’t read it for themselves.
Disclaimer: This is not the only way to sequence music reading. There are a variety of models that work. You should use whatever works best for your program and the types of learners that you have.
When we learn new music, this is the method that we like to take the students through to learn the songs in the most efficient way:
COUNT à TAH à NOTE NAME à FINGER/POSITION à AIRPLAY PLAY
Credit: Pacing for Success by Darcy Vogt Williams
Many of us use some variation of this model when teaching new music to beginners. These steps follow a logical sequence for music reading.
Rhythm is the most fundamental component of music notation. In fact, most students won’t know how to read staff notation or identify letter names when they come to you. One skill that most students have well developed is the ability to count using numbers. They are generally successful counters because they’ve been doing it for years before becoming student musicians. Use their prior knowledge to your advantage. The students need to count something every day. The counting system that your program uses will work best if it is consistent. It should be used daily by your entire staff in every class and constantly reinforced in everything that you do.
Transferring the students’ understanding of counting with numbers to counting with symbols (quarter notes and rests to begin) is the easiest and most logical. I encourage dedicating the first few minutes of every beginner class to a Rhythm of the Day activity. This could be a teacher-created rhythm, a student-led rhythmic activity on the whiteboard (see Figure 1.1), sight-counting your rhythm exercises, speed counting games (to get brains going), or something else of the caliber. As we learn more note values, I would diversify the choices in rhythmic reading to (1) provide variety, and (2) expose students to more challenging skills. Doing this daily and extending beyond their reach will make reading and playing the songs easy, which is the goal.
Figure 1.1 – Daily ‘Rhythm of the Day’ on Classroom Whiteboard
Rhythmic understanding and fluency in counting are both crucial to being a functional student musician. Once students have accomplished proficiency in this area, their ability to perform the remaining steps will be greatly enhanced. However, this does not mean that they will be fluent in note or pitch recognition, singing in pitch, or showing fingerings and positions. These steps should be layered onto the rhythmic component and reinforced just as much as the counting step should. If the students are successful in rhythmic reading and counting, they get to start class each day with something that they are good at; this builds confidence and motivation!
The next step focuses on speaking the rhythm using a common tonguing syllable (“tah”). Speaking the rhythm on “tah” reinforces the counting step while encouraging early tongue work (most necessary for winds when we begin articulation work on the mouthpiece). “Tah-ing” (or whatever articulation you prefer) replaces counting with numbers so that we can (1) focus solely on metrically aligning rhythms, and (2) focus on a specific voicing syllable appropriate for each instrument that will be transferred to playing. This is followed by speaking the rhythms using note names (as written for each instrument), and then with their appropriate fingerings, positions, and keyboard locations. Layering the note names/pitches onto rhythms reinforce reading staff notation. Counting the rhythm using fingerings and positions reinforces the association of the pitches with their position or finger combination on the instrument. Speaking positions on brass is easiest while speaking fingerings for woodwinds can be a challenge (fingering chants are the way to go)!
Each of these steps should be repeated as many times as necessary to achieve success in fulfilling that step’s objective. If the students can say it, they can play it!
Creating building blocks allows students several opportunities to interpret the music being read in a variety of forms. If they can speak the rhythm in time, “tah” in time, sing note names in time and in pitch, and sing positions or fingerings in time and in pitch, they will find success in playing the songs in time and in pitch! Each step builds on the previous one. To give less attention to one of the steps could create gaps in knowledge. By requiring this of them daily, you are expecting them to read and “perform” in rhythm (count), articulation (“tah”), in staff notation (note names), associate hand and stick work with notation (fingering and positions), and then (the fun part), PLAY! With extensive repetition of this process, the students will learn how to use this sequence for themselves. Requiring them to follow this to learn new songs in their homework & practice time, as well as continuing this in the class setting is further reinforcement of the process. This helps in teaching them how to teach themselves, another end goal.
Daily exposure to a reading model of your choice in the earliest stages of beginner instruction enhances the student’s ability to fluently read and perform music. As students begin to master these skills over time, they will (1) rely on the steps less, and (2) develop the ability to interpret rhythms in multiple forms simultaneously (knowing the note, sounding pitch, and its fingering/position all at once). Their ability to
do this on their own is crucial to their success as functional musicians. Reinforce, reinforce, reinforce… EVERY DAY.
Make this year the best one yet!
Success in music literacy creates independent music readers and thinkers.
Success in music literacy builds stronger players and ensembles.
Success in music literacy is classroom management.
Success in music literacy is knowledge retention.
Success in music literacy is skill retention.
Success in music literacy is program retention.
Success in music literacy is FUNdamental.
De’Shun J. Iverson serves as Director of Bands at Smiths Station Junior High School in Smiths Station, AL. His primary responsibilities include teamteaching beginners, teaching the SSJHS Intermediate Band, and the administration of the junior high school band program. Iverson is a graduate of Troy University with degrees in Music Education. His professional affiliations include membership in the Alabama Music Educators Association, the Alabama Bandmasters Association, and NAfME.
General Music Reviews
by Jason Jackson
Help Your Shelf
Recently, I polled the AMEA Elementary Facebook group asking members to list one book that elementary music teachers – especially our younger and new-to-the-fold colleagues – need on their bookshelves. Below are 2 of the top 5 most recommended resources. I will review the rest of the top 5 in upcoming issues. In the meantime, visit our Facebook page to see all of the suggestions!
As we begin a fresh new year, I hope that something below inspires you to help yourself discover a way (or another way, veteran teachers) of doing what we do this school year.
Curriculum for preschool through 2nd or 3rd-grade students, although it can and should be adapted to meet the needs of your intermediate and older students by substituting more age-appropriate repertoire into the framework. This book includes 3 years of lesson plans with 12 lessons per semester for a total of 72 lessons. Each lesson follows a 10-part framework, or “workout”, grounded in years of research. The 10 parts are pitch exploration (vocal warmup), song fragments (echo or call & response songs), simple
Part 1
songs (for students to eventually sing independently), arioso (vocal improvisation), movement exploration (body warmup), movement for form and expression (fingerplays and rhymes with motions), movement for
form and expression with classical music (called “MoveIt”s, teacher-led mirroring activities to classical music), beat motions initiated by the child or teacher (for individual students to keep a steady beat accompaniment to a short song or rhyme), beat motions with classical music (keeping a steady beat to recorded music), and songtales (a “cooldown” activity where the teacher sings a folksong or folk story with expression for the class). While “the green book” will be plenty to get you started, there are numerous supplemental books and resources with tons of additional repertoire for each of the 10 parts of the workout if you want to experiment with swapping out songs or rhymes, or movement activities. You may consider also purchasing the first Move It! DVD and the Keeping the Beat CD because those are referenced many times throughout the provided lesson plans and are important parts of the workout.
To get a better understanding of this book and research surrounding each of the 10 parts of the workout, be sure to read the pages with explanations of the various aspects of Feierabend’s philosophy. A few of the goals of the First Steps curriculum include guiding students toward becoming independently tuneful (using the singing voice confidently, with correct technique, and matching pitch), beatful (moving to and keeping a steady beat), and artful (singing and moving with expression), all of which should be truly mastered before introducing notation of any kind (yes, even those hearts and cute shapes we use for iconic notation). Feierabend advocates for teaching students with the “30-Year Plan” in mind: will students be able to sing lullabies to their own children, clap in time at sporting events, dance at their weddings, and still be able to connect using music 30 years after they leave your classroom?
30+ activities and lessons for mallet instruments are categorized into 6 categories: basics (mostly teacher talk plus a few warmup activities), rhythm foundations (short poems and rhymes), melodic explorations (high/ low, instrument “geography”, short songs), timbre (wood/metal/membrane), harmonic support (1 lesson on types of bordun accompaniment), and 10 lessons using children’s books. Each lesson lists suggested grade levels (K-6), teacher prep before teaching the lesson, and easy-to-follow teaching instructions. Many lessons also include possible extensions for those classes who need a little bit more to sink their teeth into. Full-page reproducible visuals are included on the pages. Artie explains her rotation system which allows students
to play every instrument during the lesson. When setting up instruments, she recommends mixing them up, instead of setting them up in groups organized by family/timbre. Floor plans for possible setups are included, as well as adaptations for classes with fewer mallet instruments. Most all the lessons could be transferred to unpitched percussion if you do not have mallet instruments in your classroom. You could pick and choose various activities from the book and sprinkle them throughout the year or plan a “Mallet Madness” unit, which may be an idea if you only have access to instruments you can borrow for several weeks at a time.
*Prices are from publishers’ websites, July 2024.
Jason Jackson teaches K-6 general music at Daphne East Elementary School and is President-Elect of the Elementary Division.
This is the third and final installment of a series featuring the saxophone, by Tracy Heavner, Professor of Saxophone, Music Education, and Jazz Studies at the University of South Alabama. Part I in the February issue focused on selecting a mouthpiece, Part II in the May issue covered selecting a saxophone and this issue explores the selection of reeds. Visit the Ala Breve Archives section of the AMEA website to view previoius issues.
Selecting Saxophone Reeds for Classical and Jazz Performance
By Tracy Heavner
Introduction
Properreed selection is very important because the reed affects almost every aspect of saxophone performance, especially tone, intonation, response, range, embouchure formation, and endurance. There are many brands of reeds being produced from cane grown in various country regions and since there are so many reed brands to choose from, saxophonists must narrow down the choices by getting recommendations from saxophone teachers, professional performers, and peers.
After this task is accomplished, saxophonists should test play samples of the remaining reed brands to determine which one best suits their playing style. In addition to the reed brand, other factors such as reed strength and reed cut should also be carefully considered when making a reed selection since they play a large role in how well a reed performs.
Reed Brands
There are numerous reed manufacturers currently marketing saxophone reeds. However, two major companies, D’Addario and Vandoren, offer the most variety. D’Addario currently produces the following reeds: Rico, Rico Reserve Classic, Hemke, Grand Concert Select, Rico Plasticover, Rico Royal, Rico Jazz Select, and La Voz. Most of D’Addario’s reeds are designed for both classical and jazz performance
but two of their reeds, D’Addario Jazz Select and La Voz, and designed especially for jazz and commercial performance. Vandoren also produces a variety of saxophone reeds including Vandoren Traditional, V12, V16, Java, Java Filed Red Cut, and ZZ. While Vandoren Traditional and V12 reeds are designed for both classical and jazz playing, jazz and commercial saxophonists primarily use Vandoren V16, Java, Java Filed Red Cut, and ZZ reeds.
It is difficult to designate a reed as either for classical or jazz performance since the mouthpiece used and the saxophonist’s playing style also greatly affect the overall tone. However, classical saxophone tone requires a reed and mouthpiece combination that produces a dark, mellow sound with little or no edge, and in general, jazz saxophone tone requires a reed and mouthpiece combination that produces a brighter sound with more edge. It is recommended that saxophonists try
a variety of reed brands and cuts, both classical and jazz, to see which one works best for their particular performance situation.
Reed Strength
Reed strength refers to the softness or hardness of a reed and usually correlates with the density (stiffness) of the cane. Most reeds are labeled with numbers ranging from 1 through 5 and as the number increases, so does the density (hardness) of the reed. These reed brands also have strengths that increase in one-half number increments while a few increase in onefourth increments. Some reed brands, like La Voz, use labels such as soft, medium-soft, medium, medium-hard, and hard to grade the density of cane instead of numbers. Regardless of the labeling system used, saxophonists should be aware that reed strength is not a standardized unit of measurement and may vary greatly from one reed brand to another.
Factors used to determine the correct reed strength are the type of mouthpiece, mouthpiece facing, tip opening, performer’s embouchure strength, breath support, and playing style. Saxophonists who use the correct reed strength will have a better chance of playing comfortably in tune and with a good tone.
Determining and Increasing Reed Strength
Beginning saxophonists usually start with softer reeds due to a weak embouchure, but as their embouchure strength and breath support develop, harder reeds are used. When increasing reed strength, saxophonists should gradually move up in one-half number reed strength sizes instead of whole numbers, which allows the embouchure time to adjust. For example, a saxophonist playing on a number 2 reed should move up to 2.5 before going to a number 3.
By increasing reed strength, a saxophonist’s tone quality, intonation, range, dynamic contrast, and other factors are usually improved. However, the process of increasing reed strength
has led many saxophonists to believe that the harder the reed strength used, the better the tone. This myth is not true and saxophonists should be cautious when moving up to harder reeds. Saxophonists who play reeds that are too hard will have an airy unfocused tone, instrument response problems, and premature embouchure fatigue.
On the other hand, reeds that are too soft will cause poor tone quality, response problems especially in the upper register, and intonation problems with the pitch going flat. This in turn may affect the embouchure, as the saxophonist will attempt to put too much embouchure pressure on the mouthpiece to pull the tone up to the correct pitch.
A guide to assist saxophonists in reed selection is the larger the tip opening of the mouthpiece, the smaller the reed strength number. Therefore, mouthpieces with smaller tip openings will require a higher reed strength number. Saxophonists need to choose the correct reed strength as this will produce a full tone, create good instrument response, promote good intonation, and also alleviate premature embouchure fatigue.
Filed and Unfiled Reeds
Another aspect to consider when selecting a reed for saxophone performance is the cut, either filed or unfiled. A filed reed, sometimes referred to as double cut, has a thin layer of additional bark removed just below the vamp area allowing the bark to form a straight line. This additional cut allows the reed to vibrate more freely producing a brighter sound with better response.
An unfiled reed, sometimes referred to as a single cut, does not have the additional cut with the bark forming a “U” shape in the area below the vamp. This cut produces a darker tone with more resistance, as the reed is not as free to
vibrate. Saxophonists should test play both filed and unfiled reeds to see which cut works best with their particular mouthpiece and playing style.
Synthetic Reeds
In addition to cane reeds, some reed manufacturers also produce reeds that are made from synthetic materials. Legere, Forestone, Fibracell, and Bari are all manufacturers of synthetic saxophone reeds. The reeds are not affected by temperature and moisture changes and also last much longer than conventional reeds. Synthetic reeds are made entirely from man-made materials and have no cane in them.
Although much more expensive than a traditional cane reed, these reeds will last a very long time. Synthetic reeds also do not have to be broken in nor do they have to be wet to play. In addition to being played under normal circumstances, doublers sometimes use these reeds in situations where they are required to pick up an instrument that has been idle for a while and play it instantly without having an opportunity to wet the reed.
Since these reeds are also more durable than conventional cane reeds, they are sometimes used for marching band and other outdoor performance events. However, synthetic reeds do not have the same feel as traditional cane when played and the tone is quite different. For this reason, most saxophonists choose to play traditional cane reeds.
When looking for the best reeds, saxophonists should examine the reeds by holding them up to a light. Good reeds will have a thick middle section called the heart, with the cane gradually tapering to the edge of the reed.
Purchasing Reeds
Once the reed brand, cut, and strength have been determined by playing samples of each reed, it is time to purchase reeds for use. When buying reeds, it is always best to purchase them by the box.
When reeds are made, they are mass-produced by machines that cut the reed based on the thickness of the cane. They are then packaged in boxes of ten for soprano and alto saxophones and boxes of five for tenor and baritone saxophones. As a result of their mass production, there are usually several reeds out of each box that will not play well or not at all. If purchasing only one or two reeds at a time, the saxophonist may receive the reeds out of a box that do not play. By purchasing the entire box of reeds, the performer is assured of getting a selection of good reeds. Also, reeds are less expensive when purchased by the box, especially through online stores that sell mass quantities of reeds at close to wholesale prices.
If saxophonists decide to purchase only one or two reeds from a local music store, they should ask the sales associate if they could select the reeds from the box rather than accepting what is handed to them. If saxophonists know what to look for when selecting a reed, they can pick the best reeds from the box while avoiding the reeds that do not play well.
When looking for the best reeds, saxophonists should examine the reeds by holding them up to a light. Good reeds will have a thick middle section called the heart, with the cane gradually tapering to the edge of the reed. The density of the cane should be symmetrical on each side of the heart so the reed will be balanced. A balanced reed vibrates evenly on both sides because the cane has the same density.
Saxophonists should also look for a smooth vamp, which is the shaved portion of the reed. Vamps with coarse reed fibers may not perform well and may also be uncomfortable for the lower lip. By following these sugges-
tions, saxophonists will increase their chances of purchasing playable reeds while avoiding the bad ones.
Summary
For saxophonists, proper reed selection is very important since the reed affects almost every aspect of performance. Factors such as the reed brand, reed strength, and reed cut will determine how well a reed performs and should be carefully considered when making a reed selection. Through diligence, patience, and carefully play-testing a variety of reeds, saxophonists should be able to select the best reed for their particular performance needs.
Dr. Tracy Heavner is an internationally renowned music educator and distinguished performance artist having performed in more than fifteen countries on five continents as an artist for Cannonball, D’Addario and Jody Jazz Music Corporations. Dr. Heavner is a professor of saxophone, music education and jazz studies at the University of South Alabama where he has taught for the past twenty-nine years. He has published over 100 pedagogy articles in music journals and also authored two books. His most recent book is entitled Saxophone Secrets: 60 Performance Strategies for the Advanced Saxophonist published by the Rowan & Littlefield Publishing Group.
Events
For Middle & High School Students
Sept. 24, 2024 Festival of Voices
Oct. 13, 2024 Flute Day
Nov. 2, 2024
Dec. 7, 2024
Single Reed Symposium
All-State Band Clinic
Jan. 28, 2025 ChoralFest!25
Feb. 21-22, 2025
March 7-9, 2025
On-campus auditions for scholarships
Feb. 15, 2025
March 8, 2025
Middle School Honor Band
High School Honor Band
Honor Band participants only March 15, 2025
Scan the QR code to learn more
Virtual auditions available upon request. For more information, visit montevallo.edu/music/auditions
Music
• Incredible Scholarships
• Mississippi’s FIRST All-Steinway School
• Bachelor degrees in Music Education, Worship Leadership, Worship Technology, Music Therapy, Performance and more!
• FULLY ONLINE Doctor of Arts in Music, Master of Music Education, and Master of Music in Worship Studies
• Top 10 Most Affordable Online Music Degrees according to Online U!
Friday, November 15 Friday, January 17 Friday, March 7
To reserve an audition day or request a time that works better for you, please email music@wmcarey.edu or call 601-318-6175.
AMEA Industry/Institutional Membership 2024-2025
AMEA would like to express appreciation to the following partners who have joined AMEA in our efforts to promote music education in Alabama. Please support these industry/institutional members who support you as music educators!
Auburn University Department of Music
132 Goodwin Music Building, Auburn, AL 36849 https://cla.auburn.edu/music/
Arts Music Shop
3030 East Blvd, Montgomery, AL 36116 https://artsmusicshop.com
Gadsden
Music Company
607 Broad St., PO Box 132, Gadsden, AL 35901 https://gadsdenmusic.com/
J.W. Pepper of Atlanta
9053 Riverside Parkway, Lithia Springs, GA 30122 https://www.jwpepper.com/
Jay and Susie Gogue Performing Arts Center
910 South College Street, Auburn, AL 36849 https://goguecenter.auburn.edu
Marchmaster/Fruhauf
14 Lake Point Drive, Dahlonega, GA 30533 https://marchmaster.com/
Southern Performances
427 Apollo Avenue, Gulf Shores, AL 36542 https://southernperformances.com/
3680 Preserve Blvd., Panama City Beach, FL 32408 https://www.panamacitybeachmusicfestival.com/
The University of Alabama School of Music
810 2nd Avenue, Tuscaloosa, AL 35487 https://music.ua.edu/
Troy University John M. Long School of Music
112 Long Hall, Troy, AL 36082 https://www.troy.edu
The University of North Alabama
UNA Box 5040, Florence, AL 35632 https://www.una.edu/schoolofthearts
The University of South Alabama Department of Music
5751 USA Drive South, Mobile, AL 36688 https://www.southalabama.edu/colleges/music/
CAMPUS CONNECTIONS
Alabama State University
The Department of Music at Alabama State University is pleased to announce the appointment of Dr. Russell Greene (Ph.D. Music Education, University of Alabama) as Assistant Professor of Music Education at ASU. Dr. Greene will serve as Coordinator of the Music Education program at ASU and will oversee all aspects of both the undergraduate and graduate music education degree programs, in addition to teaching undergraduate and graduate MUE content and serving as the new Director of the ASU Wind Ensemble.
In addition to welcoming Dr. Greene, the Department of Music also welcomes two new adjunct instructors, Mrs. Tiffany Nishibun (voice) and Mrs. Jocelyn Stovall (gospel choir) who will both be assisting with the vocal/choral program this fall.
The Department of Music is also pleased to announce our newest community outreach program that will launch this fall, Drums for Kids, which will provide group lessons for children ages 6-12. Led by ASU music faculty member and percussion specialist, Dr. Jessica Williams, the afterschool program will focus on the acquisition of playing techniques, note-reading skills, counting skills, and other fundamental skills that will reinforce
what students are learning in their local school music programs. Registration information for all fall community outreach programs, including Piano for Children, Suzuki Brass, and Drums for Kids, is available by contacting the ASU Music Office at music@alasu.edu or at (334) 2294341.
Auburn University
Ike and Rhonda Scott Endowed Professor of Piano Jeremy Samolesky has a new album of solo piano music, released on June 21 by Centaur Records and distributed internationally by Naxos Records.
“Marjan Mozetich: The Complete Piano Music” features music by the world-renowned Canadian composer, Marjan Mozetich. The album is the first professional recording of Mozetich’s piano works in their entirety.
“I [first] discovered the music of Mozetich as an undergraduate student and was attracted to its deep emotional qualities that seem to communicate
with a vast audience of listeners, from young to old, professional musicians to non-musicians,” Samolesky said. “When I reached out to Mozetich about this recording project, he was thrilled with the idea and played an important role in navigating the interpretation of his works. His input was vital in further exploring the essence of each of his compositions.”
Samolesky’s newest album is also the first major recording project to be produced in the Department of Music’s new, state-of-the-art recording studio. He collaborated with Recording Engineer Trammell Starks to produce the album.
“I was ecstatic to be able to use our phenomenal new recording facilities here at Auburn to produce this album. To have this project come to fruition using our own resources with the help of our incredible faculty, makes this album extra special,” Samolesky said. “Working with Trammell was an incredible experience - his wealth of knowledge through the recording process and post-production was indispensable in creating the finished product.”
“Marjan Mozetich: The Complete Piano Music” is Samolesky’s fourth commercial release and second solo album. It is available on all streaming platforms.
Alabama colleges and universities are encouraged to submit newsworthy material for publication in Ala Breve
Wallace State College - Hanceville
This past fall we added two new faculty members in the instrumental program at Wallace State Community College
Justin Robinson has taught music in varying roles at Benedict College, Northwest Mississippi Community College, and Southaven Middle School. As a performer, Robinson has been a member of the Aiken Symphony Orchestra and the Florence Symphony Orchestra, directed the brass ensemble at First Presbyterian Church in Columbia, SC, and has performed with numerous other groups throughout the Southeast.
Mrs. Stone grew up in Trussville, Alabama and attained her BA in Music from Jacksonville State University, with a concentration in piano and a strong secondary focus in percussion. She then earned her MM in Music Performance from The University of Alabama with a concentration in piano.
University of Alabama
A delegation of UA School of Music faculty and students will be performing for the Toradze International Music Festival this month in Tbilisi, Georgia. Established last year, the festival runs June 7th – 19th, and features performances and masterclasses by some of the world’s leading classical musicians. The festival is a project of the Toradze Foundation, which was established by the Toradze family in 2022 to promote Georgian culture to the world.
Jacksonville State University
Jacksonville State University (Jax State) celebrated a momentous occasion on Tuesday with the groundbreaking ceremony for the Randy Owen Center for the Performing Arts, known as The ROC. This state-of-the-art facility is designed to inspire a love of arts in all students and enrich the Jax State campus community, all while honoring the legacy of one of its most distinguished alumni, Randy Owen.
Robinson began his education at Mississippi State University, where he received a Bachelor’s in Music Education in 2011. From 2011-2013, he served as the trumpet graduate assistant at The Pennsylvania State University, while earning a Master of Music degree in Trumpet Performance. Most recently, Robinson earned his DMA in Trumpet Performance and a Doctoral Minor in Music Theory from The University of South Carolina in 2020. While working on his doctorate, he served as Music Theory Graduate Assistant and played principal trumpet in the USC Symphony Orchestra.
Jennie Stone teaches both levels of the Music Theory Labs, Private Piano and Percussion, Class Piano, and a burgeoning Percussion Ensemble, in addition to accompanying student soloists and ensembles within the Fine & Performing Arts Department. Before arriving at Wallace State, Mrs. Stone performed regularly with the Gadsden Symphony Orchestra and worked as a freelance teacher, musicianfor-hire, and accompanist in and around Birmingham.
Distinguished guests included Alabama Governor Kay Ivey, Alabama Speaker of the House Nathaniel Ledbetter, Jax State President Dr. Don Killingsworth, the Jax State Board of Trustees, and several local elected officials.
Dr. Killingsworth welcomed the attendees, highlighting the significance of the event. “This occasion signifies the breaking of ground, not only for a stateof-the-art facility, but for the culmination of years of planning, hard work, and dedication to making a dream a reality,” said Dr. Killingsworth. “Before those No. 1 hits and a career that landed him in the Country Music Hall of Fame, Mr. Owen was a student here at Jacksonville State. The groundbreaking of the Randy Owen Performing Arts Center is a way to honor Mr. Owen’s career and contributions to Jax State and his fans worldwide. It also marks a huge step in our commitment to our current and future students.”
The ROC promises to be a beacon of creativity and inspiration for Jax State students and the surrounding community, offering the 1,000-seat Phil and Denise Webb Performance Hall, a recording studio, educational classrooms, a 400-seat recital hall, maker spaces and studios, music technology spaces, a creative collective design space, and event spaces. It will also house the Randy Owen Museum and Archives.
Governor Ivey, whose dedication to the project was instrumental in making the dream a reality, also shared her enthusiasm and support for the project.
Dr. Mary Lindsey Bailey, Oboe
Aslan Chikovani, Piano
Benjanim Crofut, Double Bass
Matthew Meadows, Horn
Moises Molina, Cello
Edisher Savitski, Piano
(JSU Photo)
AMEA PROFESSIONAL DEVELOPMENT CONFERENCE
JANUARY 23-25, 2025
BJCC BIRMINGHAM
Reserve a room at the Sheraton
CONFERENCE Q & A
Q: WHEN AND WHERE IS THE AMEA PROFESSIONAL DEVELOPMENT CONFERENCE
January 23-25, 2025 (Thursday through Saturday) at the BJCC in Birmingham, Alabama.
Q: WHO SHOULD ATTEND THE AMEA PROFESSIONAL DEVELOPMENT CONFERENCE?
This conference is intended to fuel your passion and increase the volume of your music teaching knowledge! Band directors, choir directors, elementary educators, general music specialists, string music teachers, music program leaders, administrators, classroom educators, collegiate students, college professors, and private studio teachers will benefit from over 90 sessions and performances. All attendees will learn new skills and techniques that they can use immediately upon returning to the classroom. We are balancing intensive learning with special events that will recharge your battery!
Family and friends are welcome also! There are dozens of activities in and around Birmingham that will keep your guests busy and happy!
Q: WHY SHOULD I ATTEND?
You will be surrounded by attendees from across the state who share your passion for music education. We have also created a professional development line-up that is the best of the best clinicians and specialists from all interest areas. If networking, learning, and being inspired are essential, you cannot miss this!
Q: I HAVE HIGH SCHOOL STUDENTS INTERESTED IN PURSUING CAREERS IN MUSIC EDUCATION. IS THERE ANYTHING FOR THEM AT THE CONFERENCE?
Yes! The FAME (Future Alabama Music Educator) program includes many important topics for students considering a career as a music educator. AMEA provides a $1000 scholarship opportunity to a FAME participant who plans to major in music education at an Alabama college or university. Learn more!
Q: WHERE AND WHEN IS REGISTRATION?
Registration will be open soon on the AMEA website. Before registering, take a moment to renew your membership with NAfME and AMEA. Visit nafme.org to join or renew.
Q: WHAT IS THE REGISTRATION CANCELLATION/REFUND POLICY?
You can cancel your registration and receive a full refund up to 2 weeks before the conference.
Q: DO I NEED TO BE A NAFME/AMEA MEMBER TO REGISTER?
Yes, you’ll need to provide your NAfME membership number to register. Members may register a guest who is not a music educator. Non-members may register for an additional fee. Visit nafme.org to join or renew.
Q: WHAT APP WILL THE CONFERENCE USE THIS YEAR?
The AMEA uses Guidebook as the official app of the conference. Use the guide to navigate the sessions, concerts, exhibits, luncheons, and other events included in this year’s conference. Check out the presenters and performing groups, view the facility and downtown maps, and interact through social media.
Q: HOW CAN I PROVIDE FEEDBACK ABOUT THE CONFERENCE?
The Guidebook app for the conference includes surveys for participants to comment on various aspects of the conference.
Q: WHAT CONTENT IS COVERED IN THE SESSIONS? WHO IS PRESENTING? WHEN ARE THE SESSIONS?
The entire conference schedule will be published in the October/November issue of Ala Breve. It can also be previewed online through our Guidebook App (coming soon)
Q: WHAT MATERIALS SHOULD I BRING?
Yourself and a thirst for knowledge! If special materials are needed for a session, that information will be provided in the session description in the conference program.
Q: WHAT IS THE DRESS CODE FOR THE MEETING?
We want you to relax and be comfortable while participating – so whatever you are comfortable in is what you should wear! (Within reason, of course)
Q: WHEN SHOULD I ARRIVE AND DEPART FROM THE AMEA PROFESSIONAL DEVELOPMENT CONFERENCE?
We suggest attendees arrive by 7:00 pm on Wednesday and check in to the conference. Then take Thursday to take in sessions, the exhibit hall grand opening, and performances, which start early Thursday. All events will be finished around noon on Saturday.
FROM ARTS MUSIC SHOP...
Art’s Music Shop, Inc. is today announcing that Alex Walker, small woodwind Repair Technician, is now a Certified Straubinger™ [Pads] Technician. The successful completion of this certification is an important step towards our mission in offering a wide variety of goods and services to all musicians, from beginners to professionals.
“Alex is not only a very talented musician, but he is also an expert repair technician,” says Paul Freehling, General Manager of Art’s Music Shop, Inc. “He continues to grow, becoming better at his craft, and this is just another accomplishment to add to his armory of services.” Alex’s certification makes him one of only a handful of repair technicians who can provide and install Straubinger™ pads in the Southeast.
Straubinger™ Pads are designed specifically for handmade flutes and are made of different materials and components than traditional pads. Due to their intricacy and the precise specifications of Straubinger™ pads, only repair technicians who have gone through Straubinger’s in-depth training session(s) can install the special-made pads on flutes and only Certified Straubinger™ Repair Technicians can order the needed supplies and pads for flute servicing.
The pads themselves are considered “gold standard’ and are present in most professional, handmade flutes, like those from Powell and Haynes. However, Straubinger™ pads can actually be installed on most flutes, if desired. They are acclaimed for their precise tone hole seals, stability, durability and response time, making them the preferred pad of most flute professionals. The Straubinger™ Pad was first introduced to the flute world in 1985.
To learn more about our repair department and other offerings of our company, please visit www.artsmusicshop.com.
About Art’s Music Shop, Inc.: Art’s Music Shop has been providing school service, supplies, accessories, print music and repairs to the Southeast’s finest bands since 1905. With more than a century of experience, our comprehensive Road Team travels Alabama, Southwest Georgia and the Florida Panhandle weekly, from our stores in Montgomery, Dothan and Birmingham, Alabama.
FAME
Future Alabama Music Educators
The Alabama Music Educators Association proudly presents the Future Alabama Music Educators (FAME) program, an immersive one-day seminar designed for aspiring music educators. This enriching event is scheduled for Thursday, January 23, 2025, and will be a featured part of the AMEA Professional Development Conference at the Birmingham-Jefferson Convention Complex.
Participants can look forward to a comprehensive schedule, available in January, packed with engaging and insightful activities led by dynamic speakers. High school students in their junior and senior years who want to learn more about music education are invited to attend.
An added highlight of the FAME program is the chance to win the prestigious Eleanor Nation FAME Scholarship, a $1000 award offered by the AMEA to support aspiring music educators.
ABOUT THE ELEANOR NATION FAME SCHOLARSHIP
Welcome to FAME
The AMEA believes in the importance of developing outstanding future music educators in Alabama. The Eleanor Nation FAME Scholarship – with an award of $1,000 from the AMEA – recognizes upcoming music educators who set high standards for themselves and offer inspiration and direction for others. Scholarship recipients are chosen based on academic and musical achievements, essay content, and strength of recommendations. The winning applicant’s essay is published in the AMEA magazine, the Ala Breve.”
Qualifications
1. The applicant must intend to register as a full-time music education major at an Alabama university in the following fall.
2. The applicant must have attended FAME (Future Alabama Music Educators) at an AMEA Professional Development Conference.
3. The applicant’s current music teacher must be an AMEA member.
Nominations should be accompanied by the following:
1. An essay of no more than 1200 words based upon the following questions: What are the factors that influenced you to become a music educator? Why should all students have access to music education?
2. A sealed, official high school transcript.
3. At least three letters of recommendation. One must be from a current music teacher and the others can be from any appropriate source, including a classroom teacher or guidance counselor.
Other considerations
1. Application is due by May 31. The AMEA Governing Board will make a decision at the June meeting. Notifications will be made in early July.
2. The scholarship will be paid directly to the recipient’s university before the fall semester.
3. Award will be presented at the AMEA Professional Development Conference and the recipient will present their experience at FAME.
‣ Generous Scholarships Available for Music Majors and Minors
‣ All members of the Jaguar Marching Band receive a scholarship
‣ Music and Jaguar Marching Band scholarships are stackable with other USA Academic Awards
Audition Dates
February 8, 2025
February 20, 2025
March 15, 2025
April 5, 2025
USA
November 2, 2024
Jaguar Marching Honor Band
February 20-22, 2025
USA Concert Honor Band
April 19, 2025
Jag Drumline Auditions
April 26, 2025
USA Colorguard Auditions
Degree Programs
BM in Music Education
BM in Performance
BM with Elective Studies in Music Business
BM with Elective Studies in Specific Outside Fields
MM in Music Education
MM in Performance
MM in Collaborative Keyboard
Music Minor
Band Music Reviews
IFOCUS
hope everyone had a restful summer and a positive start to the new academic year. In this article, I wanted to highlight pieces from Alabama-educated composers. We are very fortunate to have so many fantastic composers and arrangers with ties to our state. Below are pieces from these composers that I enjoy, and I hope you like them as well!
Industrial Revolution (2019) is a grade 2 piece by Rob Grice (www. robgrice.com). Grice received a Bachelor of Music Education and Master of Arts degrees from Troy University.
From the publisher: “The use of chromatics and syncopation are emphasized in creating the industrial sounds of this intriguing piece. Busy percussion parts help to fuel the musical machinery while winds and brass keep the moving parts running smoothly”.
This work is a great teaching piece for syncopation and independent playing. It requires seven to ten percussionists. Industrial Revolution would be perfect for festival or spring concerts.
A recording and score to Industrial Revolution can be found at www.jwpepper.com/Industrial-Revolution/11100592.item
Sahara (2022) is a grade 3 work by Patrick Glenn Harper (www.patrickglennharper.musicaneo.com). Harper received his Bachelor of Music Education and Master of Arts in Music Education degrees from the University of North Alabama.
From the publisher: “This exciting
ALABAMA-EDUCATED COMPOSERS
by Jeremy Stovall
programmatic work paints a picture of a fantastical desert crossing in three contrasting sections: a caravan crossing the desert; a visit to a palace in a mystical oasis; and the caravan outrunning a sandstorm.”
Sahara features solos for Oboe, Alto Sax, French Horn, and Euphonium. Percussion parts will utilize at least ten players. This audience-friendly piece would be an exciting selection for a spring concert program.
A recording and score to Sahara can be found at www.youtube.com/watch?v=Q1YoOwnk3Ys
Carrickfergus (2014) is a grade 3 piece by Patrick Roszell (www.patrickroszellmusic.com). Roszell holds a Bachelor of Arts in Music Education from Jacksonville State University and a Masters degree from Troy University.
From the publisher: “This Irish folksong, named after the town of Carrickfergus in Northern Ireland, is beautiful, nostalgic, and lush. This intimate arrangement (with ample cross-cueing) is an excellent tool to teach phrasing and legato playing”.
Carrickfergus was written in honor of the composer’s grandmother and was performed at the Midwest Clinic by the Colleyville Middle School Honors Band (TX) in 2018. A beautiful melody and excellent scoring characterize this work. It features solos for Flute, Oboe, and Trumpet, and can be performed with only three to five percussionists. This is a moving selection for festival or spring concerts.
A recording and score to Carrickfergus can be found at the following link: www.alfred.com/carrickfergus/p/00-42197S/
October Farewell (2012) is a grade 3 work by Justin Williams. Williams earned a Bachelor of Arts in Political Science (Music minor) and a Master of Arts in History at Jacksonville State University.
From the publisher: “Written as a memorial piece for the composer’s grandfather, this gorgeous and emotional new work features tender melodies that blend with tasteful solos and warm textures in a piece that explores the emotions experienced when a loved one is lost: sadness, grief, acceptance, and hope”.
This powerful and moving work was the composer’s first original work for concert band. It contains solos for Flute, Oboe, and Trumpet, and needs at least six percussionists. If you are looking for a dedication piece or emotional addition to your program, this is it.
A recording and score to October Farewell can be found at the following link:www.alfred.com/october-farewell/p/00-38366/
Endless Daylight (2022) is a grade 3.5 piece by Tyler Arcari (www.tylerarcari.com). Arcari earned his Bachelor of Arts and Master of Science degrees in Music Education from Troy University.
From the publisher: “A highly dramatic work that will bring the full range of musical emotions to life with intense driving motifs as well as sweet lyrical sections that evoke thoughts of nature. Very creative orchestrations, challenging but playable rhythms, and great percussion scoring”.
Endless Daylight features solos for Piccolo, Flute, Clarinet, Alto Sax, and Euphonium. The percussion parts can be played by at least seven percussionists who serve as a metronome throughout the majority of the work by playing constant underlying rhythmic motor elements. This is a strong selection for festival or spring concerts.
A recording and score to Endless Daylight can be found at the following link: www.youtube.com/watch?v=6DNfT5a5yHc
Ornaments! (2019) is a grade 3.5 holiday selection by Jon Bubbett (www.jonbubbettmusic.com). Bubbett earned a Bachelor’s degree in Music Education from Troy University.
From the publisher: “Ornaments! begins with a fanfare of favorite tunes of the season.
Following the fanfare, an original melody strings together snippets of carols like ornaments on your Christmas tree! This melody develops further with flourishes of carols that are both uplifting and lead you into the spirit of the season!”
This is a very clever composition, leaving you finding familiar melodies throughout. It requires at least seven percussionists. I think this would be a fun holiday concert opener your audience will enjoy.
A recording and score to Ornaments! can be found at the following link: www.youtube.com/watch?v=r0ipPguIMeU
Panoramic Landscapes (2015) is a grade 4 work by Tyler S. Grant (www. tylersgrant.com). Grant received his Bachelor’s degree in Music Education from the University of Alabama.
From the publisher: “Originally scored for brass and percussion, this dynamic fanfare has been rescored for the modern wind band, expanding the harmonic colors and textures. Panoramic Landscapes by Tyler S. Grant is an excellent concert opener that will launch your performance in resplendent fashion while not overtaxing your musicians”.
This is a soaring fanfare that has been beautifully reimagined for wind band and will need at least nine percussionists. It would be a great addition to your spring concert repertoire.
A recording and score to Panoramic Landscapes can be found at the following link: www.youtube.com/watch?v=jSaYMfguW2A
I hope you will take a listen to these selections from a few of our extremely talented Alabama composers, and consider adding them to your spring and festival programs. Please reach out if I can ever be of assistance!
Dr. Jeremy Stovall Assistant Director of Bands Associate Professor Jacksonville State University jstovall@jsu.edu
Choral Music Reviews
by William Powell
Silver Rain (SSA, cello, piano)
B. E. Boykin
Text by Langston Hughes (1901-1967)
Oxford University Press
$3.65
Duration: Approximately 3:00
The song is set in a 6/8 meter, though it is rhythmically juxtaposed to a duple subdivision that is reinforced in the left hand of the piano part and the cello part at times. The steadiness of the ostinato in the piano part characterizes the sound of rain, laying the foundation upon which the voices enter in unison. The voices unfold into a lovely harmony, vacillating between three-part cluster chords, suspensions, and diatonic chords. There are also duet segments with the soprano and alto parts.
Rhythmic accuracy is one of several goals in Boykin’s setting of Langston Hughes’ classic poem. Singers should aim for a flowing and well-enunciated text while giving equal attention to dynamics and tone quality. It is categorized as “medium-easy” which is probably indicative of the comfortable vocal range of most treble choirs. Again, based on the metrical challenge of feeling duple against triple between players and singers, it will provide a stimulating learning experience as well as a satisfying melody set to a beautiful text.
Silent Night (SATB choir and piano; orchestration also available)
Arr. by Peter Anglea
incorporating “Stille Nacht” by Franz
Gruber (1787-1863)
Text by Joseph Mohr (1884-1933)
Beckenhorst Press, Inc.
BP2059
$2.75
Duration: Approximately 5:12
Peter Anglea’s setting of Silent Night is arguably a work that is somewhere between an arrangement and a newly composed setting of the familiar Christmas carol. Although different from the original tune, Anglea’s melody is very singable, and the original rhythm is slightly altered to accommodate Anglea’s melody and phrasing. The harmonies begin with a progression between the tonic chord and the mediant chord, continuing from there with a similar pattern on different scale degrees followed by lovely embellishments. The music serves the text with ease and tenderness, as is characteristic of the original setting. Each voice is set in a complementary area of the range which makes for an enjoyable experience for the singer and listener. Consequently, the maturity and nuances of Anglea’s arrangement might make it more appealing to high school singers and above.
Joshua Shank set the text of this familiar folk song to a creative rendition with an accessible piano accompaniment that supports the voicing. It works well for boys’ voices, depending on their stage of development. This arrangement provides opportunities for developing singers to learn about how to approach diphthongs and dialect, both of which frequently occur on sustained pitches.
Regarding the text, it is a sad story as is often the case with other similar folk songs. As depicted in the text, a young Jimmy Grove, while on his deathbed, requests the presence of Bar’bry Allen who is apparently the object of his affection. The conversation between the two characters in the story gives the choral ensemble much to discuss about how best to perform the song in a manner that provides a more thoughtful and effective rendering of the text.
Barb’ry Allen (TB and piano)Arr. by Joshua Shank
Santa Barbara Music Publishing, Inc.
SBMP 846
$2.25
Duration: Approximately 3:45
William Powell Director of Choral Activities Auburn University
The University of North Alabama Department of Music offers scholarships to qualified music majors and minors in all instrumental, vocal, and piano programs through auditions
Degrees Degrees Degrees
Ensembles may be eligible for a rdless of their academic major.
Big Band Chart Reviews for Easy, Medium, and Advanced Jazz Ensembles
This article will cover a brief literature review for Big Band, with each of us focusing on an Easy, Medium, and Advanced chart. First of all, how does one define an ‘Easy’ big band chart? If your community big band can read it down or play it with one rehearsal, it’s an ‘Easy’ chart. Your school Jazz Ensemble should be able to work this level of chart up in a few weeks with multiple rehearsals. Many charts fit this category, and we all have played a lot of them, both the good and the bad ones, and know who wrote ‘em. There is a time and a place for these, though, and it’s great to have a bunch of these in your book.
A Medium-level chart is something that will push your High School Jazz Band and University group, but with adequate rehearsal, practice, and properly run sectionals, can be performed successfully. The trumpet ranges start to get higher, and the rhythm section parts are going to be more demanding and require some knowledge and experience in interpreting chord symbols/changes. You need strong players in the lead spots; the notes get faster and closer together with the more advanced writing.
An Advanced level chart is a difficult piece of music, requires a high level of musicianship by both the director and the students, and is often the most satisfying chart to perform at the concert. This level of chart requires planning by the director based on: the level of players that will be in the band, how much time you will actually have to rehearse until the concert, and who will take the solos. Don’t pick the chart that goes to a triple ‘A’ above the staff if your lead trumpet player just got braces over the summer. Also, don’t pick the fast swing or multi-meter contemporary chart if you just graduated your best drummer and bass player and the next folks up haven’t
developed reading skills and think it’s ok to just “play by ear”. I pick this level of chart to feature the best players that are in the group at that exact moment in time, and I’ve also found that the students will rise to the occasion when presented with the challenge of performing a more advanced chart.
As always, if you have any questions regarding chart selection, features, and anything else related to Jazz Education, don’t hesitate to contact us!
Dr. Andy Nevala Director of Jazz Studies
Jacksonville State University Jacksonville, Alabama
My selections:
Easy
“You Dig?” Composed by Bob Washut.
Style/Tempo: Medium Swing Available at: iJazzMusic
This chart is written for big band, but can also be played with a smaller group, depending on the size of your ensemble, with alternate parts that come with the chart. This is a swing chart, based on the blues, and would be a great way to introduce your kids to improvising over the blues form. The trumpet goes up to a ‘G’ above the staff, and the trombone part goes to an F#. This chart also has optional solis for the horn sections, and the piano voicings and bass line are written out. This chart is available from iJazzMusic, www.ijazzmusic.com.
Medium
“River Road” by Bob Washut. Style/Tempo: Contemporary Straight Eight, Medium Available at: iJazzMusic
This is a contemporary straight eight chart in the style of Pat Metheny and has sections in 7/4 mixed with 4/4. This is a great feature for your Tenor Sax soloist and Guitar player. The trumpet goes up to a ‘D’ above the staff, and the trombone goes up to an ‘A’. This chart is very well written and brings out the different colors of the big band, including an optional vibes part. I’ve played this one with my Jazz Ensemble at JSU, and our recording of this chart was one of the three I submitted to Downbeat when we won our last award in 2023. This chart is also available from iJazzMusic, www.ijazzmusic.com.
Difficult
“Mountain Dance” by Dave Grusin, Arranged by Peter Herbolzheimer. Style/Tempo: Contemporary Straight Eight, Fast Available at: iJazzMusic
This chart is a throwback to the GRP era, with fast syncopated rhythms and melodies across the bar line, and is on the high end of the difficulty scale. The trumpet goes up to a high ‘D’, and the trombone goes up to an ‘A’. This chart is also available from iJazzMusic, www.ijazzmusic.com
“Extra Credit” by Jim McNeely.
Style/Tempo: Contemporary Swing, Up Tempo
Available at: UNC Jazz Press
Every chart I’ve played by Jim is my favorite. A great pianist and arranger, his charts always have a groove, a catchy melody, some really advanced solo changes, and are very modern sounding. This chart will push your band to its limit, but it’s doable. The Trumpet goes up to “F#”6 (up there). This chart is available from UNC Jazz Press.
Christopher Kozak University of Alabama Director of Jazz Studies
Easy/Medium
“3am” Composed by Paul Baker
Style/Tempo: Easy Ballad
Available at: eJazzlines
I like to bring this Level 2 Count Basie “Li’l Darlin’” inspired chart to bands of all levels. While it is a forward-moving ballad tempo, it still presents challenges for more seasoned players and introduces your talented younger groups to understanding the art of “restraint” and pulling back on the pulse without dragging. Sax soli style moments bring background figures from the brass more focus with call and response aspects in the bridge that really get your band listening to each other for dynamics. Solos for muted trumpet and tenor sax with written solos for both yet include changes if your more advanced players want to be more adventurous. The lead trumpet range is manageable with nothing outside the staff. Background sections during solos aren’t too intrusive but still keep the ensemble engaged
throughout. The tutti style orchestration of the melody is a great way to get your sections blending and playing together. Any band would enjoy playing this one!
Medium/Difficult
“Gravy Waltz” Composed by Ray Brown and Steve Allen, Arranged by Mark Taylor
Style/Tempo: Medium Waltz
Available at: eJazzlines
This is a great medium-tempo waltz with a focus on the saxophones but some really fun ensemble interaction. Short solo sections that can be opened up between ensemble interplay and extended to add more soloists. The shout section leading into the “Killer Joe” style vamp leads into a collective improv between Tenor and Trumpet with the ensemble bringing in the backgrounds to take the chart out. It’s a fun venture in “3” and a lesser-known tune that has some great tutti writing for your band to focus on their precision release and attacks.
Advanced
“You’d Be So Nice To Come Home To”
Composed by Cole Porter, Arranged by Michael Abene
Style/Tempo: Bright Swing
Available at: eJazzlines
This Cole Porter standard is a great version of the tune sure to challenge any seasoned group. The chart opens with a piano trio as an intro. A tight, intense swing from your rhythm section with drums on brushes is a great chance for them to shine and warm up the band. They lead the ensemble into a full tutti soli treatment featuring some of Abene’s wonderfully melodic solo lines, and interesting substitutions, with no statement of the original melody in sight. Challenging voicings and ranges round out the tutti section into a trumpet and Tenor I sax/flute solo with some energetic backgrounds. Finally, the statement of the melody on the outhead weaves through the brass with a more modern harmonization and tag to round the chart out. The use of doubles in alto I on soprano sax and Tenor 1 on flute will encourage your more ambitious players.
eJazzlines.com is only one of many great resources for finding charts. JW Pepper, Hal Leonard, Kendor Music, and UNC Jazz Press are other excellent places to find new and traditional music that will fit your band. Most of these publishing websites offer charts that can be searched via difficulty and in many cases, a PDF downloadable version with audio examples may be available. This can be incredibly helpful in selecting the most appropriate level of chart for your repertoire that will appeal to your band and audience. As always, you’re welcome to reach me or any of my esteemed colleagues with questions or recommendations on charts you may be searching for or might like to play!
Dr. Dave Camwell Professor of Music
Troy University
Troy, Alabama
Easy/Intermediate
“Manteca” by Dizzy Gillespie, arranged by Steve Owen. Available at: JWPepper
There are typically many different arrangements of most jazz standards. While the core music usually is maintained, there can be a large difference in style, tempo, level, and frankly, the skill of arranging! Manteca is one of these standards that all our students should be exposed to in both its original small group recordings from the bebop era, through to more larger versions including the Dizzy Gillespie Big Band’s from the 1950s. From the perspective of a player and a director, the best version I have come across is of this song is arranged by Steve Owen. The arrangement is quick to put together but doesn’t seem simplistic when performed. This is an excellent way to begin learning the art of Latin jazz, and it has been my experience that players really like this chart!
Medium
“Recordame” by Joe Henderson, arranged by Eric Richards. Available at: JWPepper
Eric Richards has a vast library of original and arranged music for big band, and he is a truly skilled and imaginative writer. As a director, one of the things I like best about his publications is that it is so clearly laid out for the band: all rhythm section parts are clean, and often have bass lines, piano voicings, drum hits, and setups, etc. all clearly displayed. They are always amongst the easiest to read down big band charts, which can make a huge difference to a band that is not made up of pro players. Recordame features nice parts for the rhythm section throughout the arrangement, and the solo changes give a lot of opportunity to those students who are working on their 2-5-1 vocabulary. Similar to most charts written by Eric, there is a great “bring it home” section towards the end of the chart that is a lot of fun to play. I would uniformly recommend all of Eric’s charts, and encourage you to check them out and pick one based on the level of your band. Bonus suggestions - Pontieo, Gosto Importa, and The Point of No Return are also great choices for this level.
Advanced
Jupiter, by Gustav Holst, arranged by Jeremy Levy. Available at: jlevymusic
I would actually recommend ALL of the planets from this excellent series, especially Mercury, Mars, and Uranus. They are simply fabulous re-workings of Holst’s famous music, expertly crafted by Los Angeles-based Jeremy Levy. All of them have professional recordings along with the scores posted on YouTube so you can get a sense of them before purchasing. They are uniformly player and audience favorites, and I recommend buying them all!
AMEA DIVISION EVENTS 2024-2025
ALABAMA VOCAL ASSOCIATION
ELEMENTARY/GENERAL DIVISION
ALABAMA BANDMASTERS ASSOCIATION
Statewide All State Jazz Recordings
AMEA Conference
All-State Jazz Festival
All State Solo Festival
All State Festival
Jazz Adjudication
District 1 District Fall Meeting
All State/ District HB Auditions
District Honor Band
MPA #1
MPA #2
Solo and Ensemble #1
Solo and Ensemble #2
Spring Meeting
District 2 District Fall Meeting
All State Auditions
District Honor Band
MPA
alaband.org
BJCC, Birmingham, AL
BJCC, Birmingham, AL
Arthur Outlaw Center, Mobile, AL
Arthur Outlaw Center, Mobile, AL
Thompson High, TBD
Athens High School, Athens, AL
Huntsville High School, Huntsville, AL
Grissom High School, Huntsville, AL
Hartselle High School, Hartselle, AL
James Clemens, Madison, AL
Liberty Middle School
Main Channel Brewing, Albertville, AL
Albertville High School, Albertville, AL
Albertville High School, Albertville, AL
Gadsden City High School, Gadsden, AL
Sub.deadline: November 15, 2024
January 23-25, 2025
January 23-25, 2025
April 9, 2025
April 10-12, 2025
August 19, 2024
January 31- February 1, 2025
February 21-22, 2025
February 25-27, 2025
March 4-6, 2025
April 5, 2025
May 3, 2025
August 18, 2024
January 11, 2025
February 7 - 8, 2025
March 4 - March 7, 2025
Solo and Ensemble Boaz HS, Boaz, AL April 26, 2025
District 3 District Fall Meeting
All State Auditions
District Honor Band
MPA
Solo and Ensemble
Muscle Shoals High School January 18, 2025
Russellville High School
University of North Alabama
February 7-8, 2025
March 4-6, 2025
Muscle Shoals Middle School May 3, 2025
November 1, 2024
March 1, 2025
March 1, 2025
August 9, 2024
December 20, 2024
December 20, 2024
January 24, 2025
January 31, 2025
March 8, 2025
April 4, 2025
TBD
December 6, 2024
January 31, 2025
January 31, 2025
March 21, 2025
N/A
December 20, 2024
January 24, 2025
February 10, 2025
April 11, 2025
District 4 District Fall Meeting TBD September 9, 2024 N/A
All State Auditions
District Honor Band
Hoover High School
Mountain High School
MPA #1 Thompson High School March 3-6, 2025 December 20, 2024
MPA #2
Solo and Ensemble
District 5 District Fall Meeting
All State/District HB Auditions
Hewitt Trussville High School
Bumpus Middle School
Zoom Meeting
Prattville High School
March 10-13, 2025
May 3, 2025
December 20, 2024
April 11, 2025
August 20, 2024 N/A
February 1, 2025
December 16, 2024
District Honor Band University of Alabama February 21-22, 2025 February 7, 2025
District Spring Meeting University of Alabama February 22, 2025 N/A
MPA
Solo and Ensemble #1
Solo and Ensemble #2
District 6 District Fall Meeting
All State Auditions
District Honor Band
MPA
Solo and Ensemble
University of Alabama
Prattville Junior High School
Brookwood Middle School
McKee Middle School
Wetumpka High School
Auburn Jr High School
Beauregard High School
March 4-7, 2025
April 17, 2025
April 19, 2025
February 7, 2025
April 3, 2025
April 3, 2025
August 10, 2024 N/A
February 1, 2025
February 14-15, 2025
March 3-6, 2025
Wetumpka Middle School April 26, 2025
December 16, 2024
February 5, 2025
February 7, 2025
April 4, 2025
District Spring Meeting Virtual Meeting May 13, 2025 N/A
District 7 District Fall Meeting Barton
District
Solo and Ensemble
District
District 8
MPA
District
District
Solo and Ensemble #1 W.S. Neal High School May 3, 2025 April 8, 2025
