August/September 2023 Ala Breve

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August/September 2023

ala breve The Official Publication of the Alabama Music Educators Association

26 This Year is a Marathon:

You Can Do Hard Things!

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36

Teacher Profile: Noryetta (Nory) Hall

From Philosophy to Practice: 10 Tips for a Successful Student-Teaching Experience

www.myamea.org

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DEPARTMENT MUSIC 2023 AUDIOF TIONS go.uab.edu/music

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ala breve August/September 2023

the official publication of the Alabama Music Educators Association

Features...

6 AMEA Governing Board Directory 10 AMEA is Hiring - Assistant Executive Director Posting 13 AMEA Social Media Committee 13 Capitol Tunes 26 You Can Do Hard Things by P. Justin White 28 Teacher Profile: Noryetta (Nory) Hall 30 Campus Connections 32 In Memoriam - Jerry Countryman 34 In Memoriam - Stacy Goss 36 From Philosophy to Practice...by De’Shun J. Iverson 40 FAME Essay: Why I Want to be a Music Teacher by Jordan Cutchens 41 AMEA Presidents, Past to Present 42 Choral Music Reviews by Dr. William Powell 44 Band Music Reviews by Dr. Jeremy Stovall 46 General Music Reviews by Jason Jackson 48 The Roles of Each Part in the Jazz Ensemble...

by Dr. Dave Camwell, Chris Kozak, and Dr. Andy Nevala

52 AMEA & Division Schedule of Events 54 Industry Members Departments 8 ............................President 14 ..................................ABA 16 .............................cNAfME 19 .......................ELEM/GEN 20 ..................................AVA 22..................................HED 24 ..................................AOA 30 ...........................Registrar ala breve

Advertisers Alabama State University ....................18 Arts Music Shop, Inc...............back cover Blount Awards.......................................38 Gadsden Music Company......................12 JSU Department of Music......................56 Landmark Travel ....................................3 Marchmaster............................................4 Music USA Festivals...............................7

Sight Reading Factory ..........................31 Troy University......................................39 UA School of Music .............................51 UAB Music..............................................2 UNA Department of Music....................11 University of Montevallo..nside back cover University of South Alabama Music......47

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AMEA Governing Board 2023-2024 President Dr. Rob Lyda Cary Woods Elementary School 715 Sanders Street Auburn, AL 36830 334-663-0898 president@myamea.org

Immediate Past President David Raney Sparkman High School 2616 Jeff Road Harvest, AL 35749 256-837-0331 draney@madison.k12.al.us President, AOA Joseph Lee PO Box 2532 Huntsville, AL 35804 (615) 397-4490 aoa_president@myamea.org

President-Elect Dr. Phil Wilson Ogletree Elementary School 737 Ogletree Road Auburn, AL 36830 (334) 538-9679 president_elect@myamea.org

Recording Secretary Heather Holmes Oak Mountain Middle School 5650 Cahaba Valley Road Birmingham AL 35242 (205) 682-5210 recording_secretary@myamea.org

President, AVA Hilen Wilson 6315 Mary Harmon Bryant Drive Cottondale, AL 35453 (205) 454-3067 ava_president@myamea.org

President, AMEA Collegiate Sarah Hicks (678) 986-1885 sehicks3@crimson.ua.edu

Industry Representative Joey Harbison Gadsden Music Company 607 Broad Street PO Box 132 Gadsden, AL 35901 205-910-2622 jmharbison@aol.com Executive Director Dr. Russell (Rusty) Logan 2020 Janabrooke Lane Auburn, AL 36830 (334) 663-1702 executive_director@myamea.org

Garry Taylor, Editor & Advertising Manager 1600 Manor Dr. NE Cullman, AL 35055 (256) 636-2754 editor@myamea.org

AMEA Collegiate Advisor Dr. Meghan Merciers University of North Alabama UNA Box 5040 142 Music Building Florence, AL 35632-0001 (256) 765-4518 mmerciers@una.edu

Editor, Ala Breve Garry Taylor 1600 Manor Dr. NE Cullman, AL 35055 (256) 636-2754 editor@myamea.org

Treasurer/Registrar Pat Stegall AMEA Registration PO Box 3385 Muscle Shoals, AL 35661 treasurer_registrar@myamea.org

President, ABA Lori Hart Guntersville High School 14227 US 431 Guntersville, AL 35976 (334) 797-1778 lorihart@gcboe.net

President, ELEM/GEN Alicia Luttrell Old Shell Road School 3160 Heather St. Mobile, AL 36607 (251) 221-1557 aluttrell@mcpss.com

President, HED Division Dr. Carly Johnson Alabama State University Department of Music 915 S. Jackson Street Montgomery, AL. 36104 (334) 229-4341 cjjohnson@alasu.edu

Alabama Department of Education Arts Education Specialist Andy Meadows 50 North Ripley Street Montgomery, Alabama 36104 (334) 694-4768 ameadows@ALSDE.edu

ADVERTISING & COPY DEADLINES Fall - August/September (Back to School issue): July 15 Winter - October/November (Conference issue): September 15 Spring - May/June (All-State issue:) January 15 Summer - May/June (Digital Only 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.

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.

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August/September 2023

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Dr. Rob Lyda AMEA President

Let’s Refocus and Examine our Perspective One of the many things I love about being a member of AMEA and NAfME is that I am surrounded by passionate people. I’m not sure any other profession or any other subject in education allows students and teachers to work towards a common goal where everyone participates. Sure, in a math or English classroom students learn together, but they are evaluated on how well they individually perform. The music classroom is different. The music classroom is a magical place where collaborative performance, creation, response, and connection are birthed every day. I view my classroom as an incubator where students are constantly growing and developing new knowledge and skills.

I honestly think music teachers are special and unique in the education ecosystem.

Could you imagine if other classes were taught like music or if other content areas were expected to attain the same level of success? In other subject areas, mastery is measured on a scale from 70-100%. I can’t imagine going to a concert or seeing a music teacher give any less than their best.

We are accustomed to giving and expecting from our students 100% each time.

I’ve had the privilege to rack up a few frequent flyer miles this summer as I’ve traveled around the country working with music teachers. I’ve seen the same passion in music educators across the country. I’ve also noticed some of the same ills impacting music teachers and their programs as the ones I’ve observed in Alabama. Lack of resources, funding issues, scheduling problems, substitute shortages, feelings of lack of respect for teachers and their programs, and lack of qualified music teachers to fill all the vacancies this summer are common ills in all parts of the country.

I’ve thought a lot about perspective this summer. As I’ve looked out of plane windows and observed the landscape in miniature - I’ve thought about refocusing our perspective. What are the things we need to look at from 10,000 feet? What are 8

the things we can control? What are the things that are worth fighting? Are we on an island or are we dealing with issues that are universal throughout education? What can we do as a profession to make everyone’s job and programs better? How can I help? These are just a few of the questions I‘ve asked myself as I’ve tried to gain and shift my perspective.

I can’t remember a time in my 23 years of teaching when anything about teaching was perfect. How many of you remember proration of the early 2000s or the great recession? I remember having to bring my own toilet paper to school. I will always be thankful to Steve McLendon for fighting and advocating for me when my school system decided to do away with summer employment and told me I wouldn’t get paid in October after I had already worked during the summer. I can’t remember a time during my teaching career when there weren’t ills, of some kind, that we all had to overcome. There have always been problems. We can’t let the problems consume us and force us into a vicious cycle of self-doubt and self-loathing that steals our passion.

Please don’t think I’m trying to minimize any of your problems. No one should teach in dangerous or unhealthy conditions.

Teaching the past few years has been challenging. I will admit to you that the hardest years of my career happened during the pandemic. Many of us are still trying to recover from the ills of the pandemic. The pandemic gave us a natural time to refocus and examine our perspective. However, I’m afraid that too many people in education are ready to recreate the days before the pandemic. I’m not so sure that we remember the teaching conditions of yesteryear accurately.

We invest every fiber of our being into our programs and our students. Often, neglecting ourselves and sometimes even our family. Looking back on my career, the ills are the times when I learned to be a teacher. Our ills offer us two choices – give in to negativity or figure out how to make it happen.

Let me be the first to give you some encouragement this school year – I’m proud of you. I’m honored that you show up every day and work to provide your students with the best music education possible. I know there are days when you are tired when you don’t know how to keep going, and you ask yourself if all of this is worth it. Guess what…it is worth it. You are worth it. Your students are worth it.

You do great work and are a light in the dark night for many of your students.

Please never forget that you matter. We all have bad days and on the worst of those days, I want you to remember that you are doing incredibly important work. You bring joy, give hope, and make music with other human beings. We couldn’t do this without you.

Summer and breaks are important for us to recharge, reevaluate, and rest. I hope this summer was full of rest for you, your family, and your students. Please don’t ever hesitate to contact me if you need help. I will help you think through shifting your perspective or give you a pep talk. I will listen. I am here to help you; I know others are willing to help too. Please don’t feel alone this year. Connect with other members of AMEA, meet for dinner or coffee, and share your successes and worries. You don’t have to do this alone.

This summer was incredibly busy for AMEA. The Governing Board has worked to plan conference, launch new initiatives, and discuss how we can better serve our members. I will discuss a few items of importance in the next few paragraphs.

Ala Breve Welcome to the first digital issue of the 2023-2024 school year. Due to the cost of printing and mailing the Ala Breve, the Governing Board decided to offer three digital issues and one print issue this school year. The new digital format will allow for an interactive reading experience supported by new graphics, videos, and sound capabilities. We hope you enjoy this new format. At the end of this school year, we will evaluate the delivery format of the Ala Breve for the next school year.

August/September 2023

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The AMEA Governing Board at its August meeting in Huntsville Social Media Committee We want to thank Dr. Carl Hancock for his years of dedicated service to AMEA as Media Specialist. The Governing Board realizes that Dr. Hancock’s shoes will be hard to fill! In the coming months, we will form a social media committee to create and publish content to AMEA’s social media pages. Specifically, we are looking for people that have strong social media publishing skills that can help us connect with our members and broaden our reach.

We will publish a call for interested AMEA members in late August. Watch the AMEA newsletter and social media channels for more information.

Assistant Executive Director We were fortunate that Garry Taylor continued to serve AMEA as assistant executive director last school year. The Governing Board will be publishing a call for interested members to apply for Assistant Executive Director for this school year. Please watch your email and AMEA’s social media channels for the call in August.

NAfME National Assembly and Hill Day Each year NAfME is required to gather all State MEA Presidents, members of NAfME’s National Executive Board, and the Chairs of NAfME’s Societies and Councils to discuss the business of the Association. This year NAfME also brought back the Hill Day experience to allow us to meet and advocate for music ala breve

education with our elected officials.

Southern Division NAfME President-elect Susan Smith, cNAfME officers Sarah Hicks and Matthew Suit, and I met with staff members in both Senate offices, three Representatives’ offices, and with Rep. Terri Sewell.

I’m pleased to report that all our meetings were positive. However, our work isn’t done. The FY24 Budget is currently going through the appropriations process. The House budget is seeking to cut education spending to pre-2006 numbers. The Senate is still in the process of appropriations markup. We need every one of you and your supporters to contact our elected officials. We need to advocate for continuing to fund the FY24 education budget, at least, at current funding levels.

The draconian cuts proposed by the House would slash an average of four teaching units from each Title I school. Many of the state’s music teaching positions are funded through Title I funds. Please call, email, or use NAfME’s grassroots advocacy center to let your voice be heard. Many of our elected officials will be in Alabama during the August Congressional recess. It might be a good idea to schedule a meeting with your elected officials.

The simplest advocacy tool you can use is social media. Please continue to share about your programs using #ala4musiced.

CMA and NAfME State Advocacy Grant AMEA was one of only three state MEAs

selected to receive a $4,000.00 grant to be used for advocacy activities during the 2023-2024 school year. The focus of this grant will be on mentoring music teachers in their first five years of teaching, providing scholarships for cNAfME students enrolled in HBCUs to attend the AMEA Professional Development Conference, supporting first-year music educators to attend the AMEA Professional Development Conference and leadership training for AMEA’s 2024 Hill Day. More information will be distributed in the coming weeks about these programs.

Thank you to Dr. Diane Orlofsky and Dr. Phil Wilson for writing the grant with me and for their leadership with our mentoring and emerging leader programs. One way you could help us be more successful is by helping us connect with new music teachers in your area. If you know of a new teacher in need of a mentor, please contact Dr. Orlofsky (dorlof@troy.edu), Dr. Wilson (prwilson1898@gmail.com), or myself (lydarob@me.com) with their contact information. We want to do everything possible to support our new teachers.

I know many of you are fully engaged in back-to-school activities. I hope you will take time throughout this year to put things into perspective. If I can be of any help, please do not hesitate to contact me. I hope you focus on the joy of making music. I hope you have a fantastic school year.

Welcome to another year of making music!

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AMEA IS HIRING Assistant Executive Director Adopted August 5, 2023 The Assistant Executive Director assists the Executive Director and the AMEA Governing Board in implementing policies, coordinating programs, and supporting approved activities. The Assistant Executive Director also serves as a non-voting member of the AMEA Governing Board.

Responsibilities ● Aide and assist the Executive Director and Governing Board in planning and implementing professional development programs. ● Assume the duties of the Executive Director in the case of disability or absence of the Executive Director. ● Oversee the creation and maintenance of the AMEA Conference app. ● Manage the AMEA website, including creating and updating content, designing, and implementing new features, and ensuring that the site is secure, user-friendly, and accessible. ● Oversee the social media committee to develop and schedule appropriate content to publish to AMEA’s various social media accounts. ● Assist with the implementation of the AMEA Professional Development Conference, including registration, conference A/V, and other duties as assigned by the Executive Director. ● Stay up to date on best practices in website design. ● Create an annual budget for the AMEA website, and conference registration technology needs. ● Perform other duties as assigned by the Executive Director. ● Attend meetings of the AMEA Governing Board. Provide written reports as necessary.

Qualifications ● Bachelor’s degree in music education, marketing, communications, journalism, or a related field. ● Minimum of 2 years of experience managing websites for a nonprofit organization, educational institution, or similar entity. ● Strong writing and editing skills, with the ability to create compelling and accurate content for digital platforms. ● Proficiency with website content management systems. ● Experience with graphic design software. ● Ability to work independently, prioritize tasks, and meet deadlines. ● Excellent communication and interpersonal skills. ● Maintain membership in NAfME/AMEA. Term of Appointment Appointed by the AMEA Governing Board for a yearly term (July 1 – June 30), with an annual review for reappointment.

Compensation Compensation shall be suggested by the Budget Committee with the approval of the AMEA Governing Board. Compensation will include salary, a percentage of yearly personal internet cost (percentage suggested by Budget Committee, approved by Board), and a one-time payment of $750.00 for conference registration duties. Legitimate personal expenses for the position should be itemized and presented for reimbursement.

Responsibility to Successor Upon completion of a term of appointment, the outgoing Assistant Executive Director should plan to meet with his/her successor to discuss the responsibilities of the position. All files and data pertaining to the position should be turned over at once to the successor.

The application deadline is September 15, 2023. Interviews will be held during October and the position will begin November 1.

Apply here.

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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.

Participants in University Ensembles may be eligible for a Performance Award, regardless of their academic major.

Audition Dates: November 3, 2023 | January 26, 2024 March 2, 2024 | April 13, 2024 Contact us una.edu/music | 256.765.4375 music@una.edu | @unamusic1

Degrees Bachelor of Music in Performance Instrumental Piano Vocal Bachelor of Arts or Science in Music Instrumental Vocal / Choral Bachelor of Science in Education Choral Music, P-12 Instrumental Music, P-12

Minor Music Certificates Musical Theatre Percussion Specialist

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Social Media Committee Adopted August 5, 2023 Purpose The Social Media Committee (SMC) is to produce and promote materials and resources to better showcase the activities of the Alabama Music Educators Association (AMEA). The SMC is responsible for using social media as a means to connect and engage members, grow the membership base, and advocate for music education in Alabama.

Responsibilities 1 2 3 4 5 6

Serve as the primary resource and outlet for public relations in AMEA. Work with AMEA’s Assistant Executive Director to oversee and maintain AMEA’s social media pages.

Create content to be published on AMEA’s social media pages to include membership recruitment, advocacy, yearly programs (MIOSM), and publicity for the annual Professional Development Conference.

Strategically highlight and publicize programs and events of AMEA. Disseminate information to advocate for the value of music education in the lives of all people.

Ensure that all postings comply with licensing and copyright laws.

Term of Service Appointed for a two-year term by the President. This term may be extended by the succeeding President.

Committee Oversight The Social Media Committee is chaired by AMEA’s Assistant Executive Director. The committee is responsible to the AMEA Governing Board.

Prerequisite Members of this committee must be members of NAfME/AMEA. The application deadline is September 15, 2023. Applications will be reviewed September 16 - October 16 and committee members will be notified on October 23, 2023. Apply here.

CAPITOL TUNES Perform in the Rotunda of the State Capitol during the 2024 Legislative Session A collaborative project of the Alabama State Department of Education, the Alabama Music Educators Association, and the Alabama Institute for Education in the Arts =This performance opportunity is for public schools only. =Performances will be in the Alabama State Capitol Rotunda. Space is limited. Ensembles should be no larger than 20-25 students. =Recommended performance groups include small brass, woodwind, string, vocal, or guitar groups, such as trios, quartets, quintets, or small choirs. =Each ensemble should plan to perform a minimum of 20 minutes. =Electricity or amplification may not be used. Chairs or music stands will not be provided. Groups may bring their own stands and chairs if necessary. A piano will not be provided. =Performances will take place on Thursdays of February and March during the 2024 Legislative Session. Groups should arrive by 11:00 AM at the Gordon Persons Building, warm-up, then proceed one block to the Capitol and perform at 12:00 PM. =Performing schools will receive a stipend to offset the cost of a bus driver and mileage. =The deadline to apply is November 1, 2023. =Apply at https://www.jotform.com/build/212503983618964 ala breve

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Lori Hart - President, Alabama Bandmasters Association

Give Back What You Were Given

want to thank Chris Lindley with American Travel Consulting for hosting the fun‐filled event! Wednesday night’s Shrimp Boil Dinner had more participants than anticipated and we loved having the Doc Rogers and the Rock Dodgers Band provide live music!

It was inspiring to see so many members of the band come from all walks of life and generations….it brought all that we discussed in our clinics full circle when you see the 80 plus year‐old piano player use her walker as her piano bench! Priceless!

What we do is important because we teach lifelong musicians!

Let me begin by saying how excited and honored I am to be representing the Alabama Bandmasters Association as your President. It is a responsibility that I do not take lightly. Over the next two years, it is my desire to provide our membership with new opportunities that will allow us to grow as professionals, develop new friendships, increase our leadership abilities, and recognize the importance that we each have in our students’ daily lives.

As we begin a new school year, I challenge you to find something positive to focus on each day. These are difficult times in the world of education. We have to find ways to lift each other up! There’s the well‐known pyramid scheme that we have all seen in different forms of business but think for a moment if we developed our own pyramid of helping one other director and then that director helped another…you see where this is going?

We each find a way to be a positive influence no matter how big or small and before we know it we have

Robert W. Smith presents the Keynote Session at the ABA Summer Conference

allowed our light to shine…It’s contagious! Instead of worrying about what the person down the road is doing, worry about the kid up the street that just started their career…Think about how you felt in those early days… someone helped you become better and I call on all of you to give back what you were given. Trust me, the return on investment is life‐ changing!

We held the 2023 ABA Summer Conference at the beautiful Perdido Beach Resort and it was a great time of fellowship and development! Alabama native and world‐renowned composer, arranger, and teacher, Robert W. Smith, opened our conference with his keynote address about the responsibility we all have in the development of our students as future leaders. Many thanks to Gene Butler, Joshua Heicht, Samantha Malttagliati, Chris Moore, and Joel Henson for their outstanding clinics which brought about new thoughts and ideas.

Chris Moore presents a session at the ABA Summer Conference 14

Alabama Bandmasters Association

Our Tuesday night Meet and Greet / Trivia Contest was a huge success and I

Joel Henson presents a session at the ABA Summer Conference

The board adopted new comment sheets for the back of our MPA adjudication sheets, as well as increasing the pay scale of our MPA Adjudicators so that we are more closely aligned with other states’ pay scales. The Music Selection committee is looking at new music to add to our Cumulative lists and the updated list will be published on August 1st, along with the 2024 All‐State requirements.

Look for all of these on our website.

August/September 2023

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stewards of the ABA finances, so we will take a year to look into other venues and opportunities for future conferences.

Best wishes to all of you as you prepare for the upcoming school year. May it be your best one yet!

Lastly, we will partner with members of Phi Beta Mu in the development of a new teacher mentorship. I am afraid, as of this writing, we may have more teaching jobs open than we have teachers to fill them. We must nurture and mentor our young directors so that we can always fill the positions within our state.

We need more band programs, not less! More information regarding this will be forthcoming.

Gene Butler presents a session at the ABA Summer Conference

The board voted to take a one‐year suspension of the Summer Conference, to look at the financial feasibility of this event. The rising costs of hotel, food, and other items related to conferences have become astronomical in relation to the number of participants. The board feels it is our responsibility to be good

In closing, my sincere thanks to our ABA Board and our outstanding sponsors for their longstanding support of the Alabama Bandmasters Association: Art’s Music Shop, Inc, AWB Apparel, Best in Class Tours, Custom Fundraising Solutions, Fruhauf Uniforms, Inc., Guardian Travel Group, Priester’s Pecans, Inc., Stanbury Uniforms, LLC, Southeastern Performance Apparel, and Southern Performances Inc.

Joshua Hecht and Samantha Maltagliati present a Leadership Development session at the ABA Summer Conference

The Doc Rogers and Rock Dodgers Band provided entertainment during the Shrimp Boil at the ABA Summer Conference

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Sarah Hicks, President, Alabama cNAfME

NAfME Collegiate Leadership Advocacy Summit Dr. Meghan Merciers, Advisor Hello, Alabama Music Educators! As you can tell, this article is a little bit different. This quarter, I want to take the time to tell you about an opportunity that my President-Elect and I had this summer that changed my perspective on advocacy and leadership.

In May, Dr. Lyda (AMEA President) contacted Matthew Suit (ALcNAfME President-Elect, Troy University) and me (ALcNAfME President, Sarah Hicks, University of Alabama) about attending the NAfME Collegiate Leadership Advocacy Summit in Washington, DC, in June. Each state was asked to send a few delegates, and

Matthew and I were excited to be the Alabama Delegates. As we got closer to our departure date, Matthew and I both shared some nervousness. We realized that this was the first time that either of us had traveled without our parents and a large school group and that the task of advocating for music education on Capitol Hill was no small feat. We were happy to learn as soon as we arrived that 20 other collegiate delegates from all across the country were just as nervous as we were.

Though we knew we would be traveling with our state MEA President and officers to Capitol Hill, we all feared not being qualified to speak on behalf of music educators. Thankfully, this was far from the experience that we actually had.

From the first moment we set foot in the House of Representatives buildings, we were met with smiling faces. I was surprised that so many of the interns and staff members working in the Congressmen’s offices were even from my own school, The University of Alabama. What brought the biggest smile to my face was that when we told any staff member that we were with the National Association for Music Education, they had something positive to say about music. From Front: NAfME Southern Division President-Elect Susan Smith, ALcNAfME President Sarah Hicks, Back: ALcNAfME President-Elect Matthew Suit, US Congresswoman Terri Sewell, and AMEA President Dr. Rob Lyda

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interns that played in the trombone choir at Auburn to a Chief of Staff who played saxophone in his high school marching band to Congresswoman Sewell, who played the clarinet through all of her schooling, almost every person that we talked to was impacted by music at some point in their lives. It was so inspiring to hear about how much music meant to so many different people, from so many different places, in so many different occupations.

When it was finally time to speak with either our representative or one of their staff members, I shared the story of how music has changed my life.

While I was first intimidated by the policies Dr. Lyda explained and the initiatives that Ms. Susan Smith (NAfME Southern Division PresidentElect) shared the importance of, I was asked to explain why I found it so crucial for every child to receive music education. Matthew and I were happy to tell our stories, and we were pleased to hear that they provided insight, human connection, and understanding to the staff members.

On the second day, the collegiates had the opportunity to learn about leadership. One of the speakers said that maturity is understanding how your actions affect others. It was empowering to know that taking time out of my summer to go out of my comfort zone and tell my story could impact students all across America.

Matthew and I wanted to present our experience to you and say this: no one is too young, too old, too busy, or incapable of advocating for something they believe in. You have a powerful voice. If you are brave enough to step outside of your comfort zone and use it, you will make a tremendous impact.

Matthew and I would like to thank Dr. Lyda and the members of AMEA’s Governing Board for making it possible for us to experience the ala breve

NAfME President Scott Sheehan, NAfME Southern Division President-Elect Susan Smith, NAfME President-Elect Deb Confredo and Collegiate Members at the NAfME Collegiate Leadership Advocacy Summit in Washington, DC.

NAfME Collegiate Leadership Advocacy Summit. The experience empowered us to continue advocating for music education for the rest of our careers.

We hope you will consider attending our ALcNAfME Collegiate Summit on Sunday, October 29, 2023, at Troy University. We will spend the day learning about ways to connect all aspects of music education, and

explore newer genres such as Modern Band, to be more inclusive and inviting of all types of music! Stay tuned to our social media outlet on Instagram for announcements of registration and the schedule of professionals we will host on Instagram @cnafme_al. Join our state GroupMe as well, Alabama Collegiates!

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Alabama State University Department of Music Bachelor of Music Education Master of Education in Music Class A Alternative Certification available for students with baccalaureate credentials in a liberal arts program in music

P-12 Vocal/Choral P-12 Instrumental

Woodwinds Brass Percussion Piano Voice

ACCEPTING APPLICATIONS

Alabama State University is an accredited institutional member of

NASM National Association of Schools of Music

MUSIC@ALASU.EDU

(334) 229-4341

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Reflecting on the Past; Looking to the Future

Alicia LuttrellPresident, Elementary/ General Division

This summer has been a busy one for me. I have spent the summer preparing my triplets to head off to college. Yes, I am exhausted but thrilled for them as they are anxious to get going. Their eagerness, however, causes me some unease. I find myself looking back, reflecting on our time together, and questioning how prepared they are.

Did I instill in them all the values they will need? Did I equip them with all the tools they will require to succeed?

Meet your new executive board (2023 – 2025) • President – Alicia Luttrell • President‐Elect – Jason Jackson • Treasurer – Devin Lacey • Secretary – Melissa Galanopoulos • Past‐President – Sarah McLendon • Festival Director—Melissa McIntyre

Likewise, I am prompted to reflect on the past year and my teaching. I find myself considering whether I did all I could do for each student.

You too may have taken time to step away from the business of the school year and reflect on your students’ progress and analyze how you could improve your approach to elementary music education.

Amid the hectic responsibilities with my triplets, I also had the opportunity this summer to teach enrichment camp at my school as well as music camp at church. Both experiences allowed me to dig deep and look for fun new ways to stimulate my students. I have been able to try out new lessons, those activities for which I do not always seem to have the time but have been wanting to try with my students. I have been rejuvenated and now look forward to the new school year when I can incorporate an innovative approach to my teaching, a new slant on teaching the same old standards. I discovered many of these music education lessons and activities at AMEA Professional Development Conference last year. ala breve

I urge you to make plans now to attend the AMEA conference on January 18‐20, 2024, in the beautiful city of Huntsville. I assure you that it will be worth every minute you spend in conference workshops and concerts. You will come away refreshed and equipped to make yourself a better music educator.

We are elated to have Denise Gagne once again with her 35 years of teaching experience join us to share some of the latest and greatest in elementary music education.

In addition, we are excited to welcome award‐ winning composer and conductor, Greg Gilpin, to demonstrate his approach to elementary choir and share some of his favorite repertoire with us. Mr. Gilpin will also be directing our All‐ State Honor Choir students as they rehearse on Friday and perform that evening in the first‐ever All‐ State Elementary Choir concert. I encourage you to have your students participate in this awesome opportunity. Be on the lookout for emails about how to register your students.

District Chairs (2023 – 2025) • District 1: Lea Hoppe & Viktoria Truesdail • District 2: Karen Morgan & Jamie Howell • District 3: Trudye Confessore & Kris Lindley • District 4: Laura Clevenger & Kaitlyn Melton • District 5: Katie Boyd • District 6: Christy Clark • District 7: Regina Williams • District 8: Andrea Marsh Feel free to contact your executive board members at elementaryamea @gmail.com if we may be of assistance to you in any way, and be on the lookout for emails from your district chairs about upcoming information and events in your area.

Let us continue to reflect and look for ways to be different, make a difference, and become better versions of ourselves as music educators. Let us anticipate a bright future and exciting years ahead as elementary music educators. AMEA has so much to offer us all. I cannot wait to see you all in Huntsville in January.

Sincerely, Alicia Luttrell 19

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Hilen Wilson President, Alabama Vocal Association

FALL UPDATES AND REMINDERS

Gardner for building us a new website. Please be sure to unbookmark all “myamea.org/ava” pages and exclusively use the new site: alabamavocalassociation.org. If Greetings directors!

I hope you all have had a restful summer and have had time to renew and refresh for this school year.

Though each school year comes with challenges, I hope that you continue to find joy in teaching your students and are excited to make music with them this year! I have spent a lot of time this summer reflecting on my teaching and I am thankful for the continuous support I have received from this organization and the many opportunities I have been provided to learn and become a better teacher. I am entering this school year energized and excited about the direction of the Alabama Vocal Association and how our events can support our teachers and students.

The AVA Governing Board had a productive summer board meeting and we are looking forward to this year’s AVA events.

NAfME Membership If you have not already done so, please renew your NAfME membership. You can do so at www.nafme.org. NAfME membership is required to register for any AVA events.

NEW WEBSITE Our brand new website is now live. I am very thankful to Matthew 20

you see any errors or notice any potential mistakes, please contact matthew.gardner.ava@gmail.com.

Summer Board Decisions and Changes for 2023‑2024 • Matthew Gardner is our new digital director. He will be taking over the website and our social media accounts.

He built us a new website and I would like to personally thank him for all his hard work!

A bid from Sweet Spot Live Record‐ ings was approved for our All‐State Choral Festival recordings. The recordings will now be delivered via Dropbox and can be downloaded onto any device.

A teacher panel has been formed to discuss and evaluate our All‐State audition process. This panel will be working throughout the year to ana‐ lyze our process, look at adding a sight‐reading component and make sure our audition process aligns with the goals and mission of AVA. For State Choral Performance As‐ sessment, the board clarified one of the sight‐reading rules to read: a Any director of any level choir may choose to read an example with one

voice part less than their highest performance voicing but must provide a rationale for this adjustment on the auxiliary information form. For example, a choir performing SSA & SA on stage may sight‐read SSA or SA. For Honor Choir this year, we will have a gospel choir with conductor Valerie Harris from Miles College.

We are looking forward to this fan‐ tastic experience for our students!

We would like to thank Holly Luke for stepping in as District IV Chair for this school year.

We are in the process of hiring a new Executive Secretary and will hope‐ fully have someone in place by Au‐ gust 31.

Our clinicians for this year’s All‐State Festival chose fantastic repertoire and I cannot wait for our students to work with them! o MS Mixed: Alex Gartner, Pensacola Children’s Chorus o MS Treble: D’Walla Simmons‐Burke, Winston‐Salem University o HS TTBB: Jeffrey Benson, San Jose State University o HS SSAA: Julie Yu Oppenheim, August/September 2023

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o

Oklahoma State University HS SATB: Eric Barnum, Drake University

2023‑2024 AVA Events Please visit the new 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.

Fall Workshop Our next event will be the Fall Workshop at the University of Montevallo on Friday, September 8.

I am excited to have Matthew Gawronski from Weber Middle School and Schreiber High School in New York as our clinician this year.

He will be presenting relevant sessions on embracing technology in the 21st‐century choral rehearsal, navigating the changing voice, as well as a reading session. We will also have mini break‐out sessions, a performance from the University of Montevallo Concert Choir, and our General Membership Meeting. Thank you so much to Melinda Doyle for hosting us again this year. All teachers in years 1‐5 are invited to our New Teacher Luncheon for a refresher on all AVA events and to connect with teachers in your district. I hope to see you all there!

Hilen Wilson, AVA President: hilen.wilson.ava@gmail.com Amanda Slay, AVA President‑Elect: amanda.slay.ava@gmail.com Jody Powell, AVA Vice President: jody.powell.ava@gmail.com Nichole Hill, AVA Recording Secretary: nichole.hill.ava@gmail.com Matthew Gardner, District I Chair: matthew.gardner.ava@gmail.com Frank Andrews, District II Chair: frank.andrews.ava@gmail.com Zachary Banks, District III Chair: zachary.banks.ava@gmail.com Marlin Ward, District III Co‑Chair: marlin.ward.ava@gmail.com Holly Luke, District IV Chair: holly.luke.ava@gmail.com Debbie Flynn, District V Chair: debbie.flynn.ava@gmail.com Sallye York, District VI Chair: sallye.york.ava@gmail.com Christie Breland, District VII Chair: christie.breland.ava@gmail.com

District Date/Time I II III IV V VI VII

District Chair

August 4, Matthew Gardner 3:40 PM August 15, Frank Andrews 4:00 PM August 3, Zach Banks 4:00 PM August 3, Holly Luke 4:00 PM August 8, Debbie Flynn 4:00 PM August 10, Sallye York 4:00 PM August 17, Christie Breland 3:00 PM

Our district chairs will be holding virtual district meetings at the following dates and times. Please plan to be there to learn about the upcoming school year and have any questions you may have answered.

Please be sure to follow the Alabama Vocal Association on Facebook and Instagram for updates and reminders. I hope everyone has a wonderful start to their school year and I look forward to seeing you all at Fall Workshop!

Sincerely, Hilen Wilson

Thank you for taking the time to read about our organization. Please know that the AVA board is diligently working to improve and provide the best opportunities for our students. Please 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. Please see below the contact emails for members of the Executive Board as well as District Chairs. We all look forward to hearing from you and serving you this year. ala breve

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Dr. Carly Johnson-President, Higher Education Division

Looking Ahead to a New School Year As we look ahead to a new school year with both excitement and anticipation, a good opportunity presents for everyone to explore what all the Higher Ed Division for AMEA can offer to you in 2023-2024. If you are in search of professional development opportunities, you will want to read more about how to apply for and participate in the various performance and presentation opportunities available to all HED members. If your interests are in performance, we will be programming not one, but two HED showcase recitals that will take

place during the 2024 AMEA professional development conference in Huntsville in January. One of the recitals will feature a program comprised of all artist faculty from a variety of universities and colleges across the state of Alabama performing various solo and chamber works. The second recital will be an opportunity for applied instructors and chamber ensemble coaches to feature their undergraduate and/or graduate students from all disciplines and areas of applied study in performance.

Students from the University of North Alabama Saxophone Ensemble, under the direction of Dr. Timothy J. Harris, performing on the 2023 HED Student Recital.

Last year, the faculty recital included works by Philip Wharton, Lori Ardovino, John Mayer, Francis Poulenc, John Corigliano, and Igor Stravinsky, featuring performances by Dr. Jonathan Houghtling and Dr. Kristofer Sanchack from Alabama State University, Dr. Rachel Park from Jacksonville State University, Dr. Evan Clark and Dr. Rachel Frederiksen from the University of Alabama, Dr. Amalia Osuga and Ms. Madeline Cawley from the University of Alabama at Huntsville, and Dr. Whitney O’Neal, Dr. Meghan Merciers, Dr. Kelsey Pacquin, Dr. Gretchen Windt, and Mr. William Hueholt from the University of North Alabama. Meanwhile, the student recital featured the brass quintet from the University of Alabama at Birmingham coached by Dr. James Zingara, the Auburn University saxophone quartet coached by Dr. Michael Pendowski, the Troy University trombone choir coached by Dr. Jason Sulliman, the University of North Alabama saxophone quartet and ensemble coached by Dr. Timothy Harris, and the Huntingdon College brass quintet coached by Dr. Brandon Slocumb. If you are interested in performing on the 2024 faculty recital or would like to nominate one of your students or student chamber groups to perform on the 2024 student recital, please look for the August/September 2023

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HED Recital Call for Performers to be posted soon on the 2024 AMEA conference website.

If research is your passion, another wonderful way to be involved at the 2024 AMEA professional development conference is by submitting a research poster proposal for inclusion in the research poster sessions presented by the HED division during the 2024 conference. Look for the HED Call for Research Posters to also be posted soon on the 2024 AMEA conference website to find out more details and how to submit your research poster proposal. The Higher Ed division is also currently looking for volunteers to serve as presiders for our clinics and sessions that will take place during the 2024 professional development conference in January, so if you would like to serve in this capacity as a presider, please let us know!

One of our more unique conference offerings in recent years has been the creation of a new EdTPA Lesson Planning Competition in conjunction with the Collegiate Division and CNAfME student leadership. This annual competition serves as a collaborative opportunity for our collegiate CNAfME members to present and take part in meaningful professional development with seasoned members from the Higher Ed Division providing feedback, coaching, and support. The competition (really, more of a friendly and supportive showcase) allows for a stage on which our music education students can shine and acquire additional experience with the planning, preparing, and delivering of effective lesson plans.

By utilizing the structural format of the edTPA performance-based, subject-specific assessment system used by teacher preparation programs throughout the United States to emphasize, measure and support the skills and knowledge that all teachers need to develop to be successful in the classroom, competition participants put into practice what they need to master while receiving valuable feedback ala breve

Prizes

Supportive Feedback

Mentoring Opportunity

Collegiate/HED Divisions

edTPA

Lesson Planning Competition Saturday, January 20, 2024

CNAfME STUDENTS plan, prepare and teach effective lessons Application Deadline: November 1st For competition rules and to apply:

The goal of the competition is to provide a professional development opportunity for music education students preparing to submit materials within the edTPA framework

and advice from experienced music education specialists from several of the top music education programs institutions in the state of Alabama. This year, the competition will take place on Saturday morning during the 2024 AMEA professional development conference in January and will feature prizes and awards for the most outstanding presentations.

Look for the HED/Collegiate Call for the edTPA Lesson Planning Competition to be posted soon up on the 2024 AMEA conference website and please encourage your music education students to submit an entry. Last year’s first prize winner, Sawyer Strickland, a music education student from Jacksonville State University, received a free complimen-

tary one-year membership to AMEA! In addition to these scholarly activities, there will also be plenty of opportunities to socialize and network during the conference including at our annual HED Luncheon and at our annual HED/Collegiate Division Mixer that take place during the conference. In closing, if you desire to be part of, and take a more active role in our stimulating, inclusive, diverse community of academics, educators, and artists from across the state, then the HED Division is the place for you! I look forward to connecting with each of you more throughout the upcoming year and wish you all a wonderful start to the new school year!

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Joseph Lee-President, Alabama Orchestra Association

Dear Members of the Alabama Orchestra Association, I hope that these weeks of summer have offered opportunities for rest and renewal. Whether you lead one of Alabama’s youth orchestra programs, a public or private school string/orchestra program, a university orchestra, teach private or group classes, or are involved in string music education in other ways, the members of the Executive Committee are grateful for your membership and participation in the Alabama Orchestra Association. We appreciate your commitment to the music education of Alabamians of all ages and seek to be a resource for you as you work to continually inspire and nurture the studentartists in your care.

Please encourage your string students to audition for the North or South All-Region Orchestra, depending on their geographic location within Alabama. As in recent years, the string students selected for the 2024 All-State Orchestra Festival will be chosen based on their score for this audition.

String students must plan to attend for the 2024 All-Region Orchestra Festival in order to attend the 2024 All-State Orchestra Festival.

To provide more woodwind, brass, and percussion students the opportunity to play in an orchestral setting, students of these instruments will be assigned to either All-Region or All-State Orchestra. This placement is based upon the audition results.

From the bottom of my heart, thank you for all that you do to ensure that orchestral music not only exists in the State of Alabama, but thrives in the State of Alabama. As we embark on this new academic year, may we strive to build musical communities where our students find safe spaces to express themselves, their experiences, their hopes, and their dreams for a kinder world where all are loved, nurtured, and supported. May this be our goal and may music be our vehicle.

Musically yours, Joseph Lee, president

More information regarding auditions can be found here: https://alabamaorchestraassociation.org All-Region/All-State Orchestra Audition Information October 13, 2023 - String and Harp Audition Materials Due November 10, 2023 - Woodwind, Brass, and Percussion Audition Materials Due 24

August/September 2023

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The members of the AOA Executive Committee are: Joseph Lee, President Huntsville Youth Orchestra Huntsville Symphony Orchestra Jordan Kirchner Ford, Vice-President/President-elect Alabaster City Schools Rachel Christmas, Secretary and Orchestra Music Performance Assessment Chair Gadsden City Schools Tricia Marotz, Treasurer Private Instructor - Dothan, Alabama Daniel Stevens, Past President Mississippi State University Leroy Hughes, All-State Orchestra Chair Baldwin County High School, Baldwin County Youth Orchestra Anna Marie Tysinger, Executive Director Retired Music Educator, Tri-State Community Orchestra Dothan, Alabama

Important Dates for the Alabama Orchestra Association 2023-2024 Academic Year North All-Region Orchestra: January 6-7, 2024 Huntsville, Alabama South All-Region Orchestra: January 6-7, 2024 Greenville, Alabama AMEA Professional Development Conference: January 18-20, 2024 Huntsville, Alabama All-State Orchestra Festival: February 8-11, 2024 Tuscaloosa, Alabama Orchestra Music Performance Assessment: April 5, 2024 Alabaster, Alabama ala breve

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You Can Do Hard Things A Living Autopsy “Secure your own mask first before assisting others.” With the screeching halt of the pandemic lockdown, prioritizing our health and wellbeing was at the forefront of our minds. Balancing our time with family was easy when there were no assemblies, concerts, or afterschool practices. While we enter a new season following summer break, we must take the time to reflect and prioritize our wellbeing this coming school year. Author and motivational guru, David Goggins, described a living autopsy as the examination of our core self to discover the true ailments that are harming us. Do not wait for a drop in cabin air pressure to secure YOUR mask. Today is the day to start prioritizing YOU, and there is no better time.

You are NOT your job. {Graphic #1} We all carry many titles ranging from friend, spouse, brother, mother, runner, etc. For the first part of my career, I introduced myself as, “Justin: the band director.” I thought I was destined to be 26

P. Justin White from your work. If I had a great rehearsal at school, I perceived myself as a good band director and carried a happy disposition.

Conversely, if my ensemble had a less than stellar rehearsal or performance, I felt inadequate and a failure as a person. A large majority of my self esteem was based on the daily performance of teenagers. As foolish as that sounds, I know that I do not stand alone in those feelings.

the world’s greatest band director. It became the core component of how I defined myself. I received many accolades for putting my job first.

However, when your occupation is at the center of your identity, it is impossible to compartmentalize you

You are not your job. You are you, and you are perfect (Not all of your decisions may be, and that is OK). You are the only you there will ever be. These Dr. Seuss like mantras, as cheesy as they may seem, are true. I often stress to young teachers that you may never know August/September 2023

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what is going on in a student’s personal life; practice kindness. Treat yourself with the same respect and care that you treat your students.

Boundaries are the first step My father would tell me about the sign outside his mill that read, “Leave home at home and work at work.” While it is incredibly difficult to compartmentalize our life, defining those boundaries is a must for our profession. I believe this to be our

greet their spouse with love. Being respectful of your students’ time by ending after school practices on time is also being respectful of your own time.

The diligence you spend scheduling concerts and rehearsals should be applied to scheduling quality time with your family especially during peak hours.

Future Justin problems I often joke with my friends, “that is a future Justin problem,” when things

It is a MARATHON not a sprint Teacher burnout has become a widely discussed topic among the entire educational field at various conferences and gatherings. With a tremendous amount of attrition within the field of education, we must remember that it is a marathon, not a sprint. In the long game, an educator must have pacing and organizational structure to persevere. The honest truth: teachers feel overworked, underpaid, undersupported, and probably most painful, underappreciated. I remember how daunting of a task getting out of the parking lot was some mornings.

To handle the stress, we must put on our mask before assisting others. Take care of yourself. If you feel your stress barometer reaching new heights this academic year, perform a living autopsy. Remember: This year is a marathon. You can do hard things.

biggest weakness in the battle for balance and our first step in the journey.

Carefully consider this: Your spouse did not marry a band director; they married you. Your children do not want a choir director, they want a mom. In the same respect, your students deserve a great educator.

While I personally struggle with this, I continue to strive to make home a work-free zone. By making small changes, such as taking your work email notifications off your phone or setting an alarm to leave the office, we can start to build those boundaries. I have friends that have location-based reminders when they arrive home to ala breve

are left unresolved. I created many “future Justin problems” in the start of my career by putting myself second.

Problems at work had to be resolved immediately while I put personal care and relationships last. My brain would tell me,“But I am a teacher, I love my students.” Taking care of yourself and loving yourself IS loving your students.

Your students deserve the best version of you. They do not deserve the sleep deprived, malnourished, or stressed you.

When was the last time you went to your general physician, dentist, chiropractor, etc.?

What have you done for you today that will make your life better in five years?

P. Justin White currently serves as the Interim Director of Bands at Samford University. Prior to Samford, Justin served as Assistant Director of Bands at the University of Alabama and Director of Bands at Thompson High School. He is a graduate of University of Alabama and received a Masters in conducting from the University of North Texas. While at UNT, Justin was a conducting student of Nicholas Williams, Dennis Fisher, and Eugene Corporon. In 2020, he was selected winner in The American Prize in conducting and outstanding young band director by the Alabama chapter of Phi Beta Mu. 27

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Schools. I started playing the baritone in my middle school program and that took me all the way to Jacksonville State University where I earned my B.A. in Music Education. I returned home to Tuscaloosa where I earned my M.A. in Curriculum and Instruction from the University of Alabama.

Teacher Profile Noryetta (Nory) Hall Editor’s Note: Each Teacher Profile spotlights a music educator from across the full spectrum of AMEA - new teachers, experienced teachers, retired teachers, and teachers from each of AMEA’s different divisions.

This issue features Noryetta (Nory) Hall, Elementary Music Teacher for Tuscaloosa City Schools

•

Briefly tell us about your current position, how long you’ve been there, and a little about your schedule.

I just finished my fourth year of teaching elementary music for Tuscaloosa City Schools. I teach at two schools: Central and Southview Elementary and I see roughly 900 students between both schools. My schedule is two days at Central and three days at Southview. TCS offers year round art and music instruction for 4th and 5th grade, while grades K-3 have art or music for one semester each. This schedule allows me to see all students that are taking music for that semester once a week for 30 to 40 minutes.

•

Tell us about your background – hometown, college, family, etc.

•

Why did you decide on a career in music education?

I was pretty sure that I had always wanted to be a teacher, but the decision to become a music educator happened in high school. In an unfortunate situation, the sudden loss of my late band director, Mr. Ethime Emonina, showed me just how much I loved teaching music. It was my senior year at Paul W. Bryant High school and I along with other leaders in our program took over a large portion of instruction while waiting for his position to be filled.

•

Who are some of your teachers/colleagues that you would consider mentors and why?

My biggest mentor would have to be Angela Andrews who is the art instructor at my school. We started our positions at the same time but I was a first year teacher to her 20+ years of teaching experience. She is a wealth of knowledge and a great support system.

I wouldn’t be the educator I am today if it weren’t for the teachers and colleagues I’ve met along the way. There are too many to list everyone but if I were to name a few it would have to be my strong music elementary team here at TCS: Karla, Jane, Linda, Jenna, and Helen, our fine arts director Dr. Jeff Schultz and the person who made me the most comfortable teaching elementary school after mostly instrumental preparation, Dr. Julie Bannerman from the University of Alabama.

I’m proud to say that I am a product of Tuscaloosa City 28

August/September 2023

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training. It was a lot of hard work but it was well worth it.

Not only do I feel even more prepared to return to my classroom but the connections and friendships I made along the way will stay with me forever.

•

What would your students be surprised to find out about you?

They would probably be surprised that I play a lot of video games but most of them already know this because I often join in on random discussions that I hear throughout the school. :) •

How do you spend your summer breaks?

I take the time to travel and see family, catch up on household projects, and REST. •

How about interests or hobbies not related to your teaching position?

I buy and sell trading cards as an extra hobby. Very small scale but fun nonetheless..

•

Are there any embarrassing teaching moments you’re willing to share? What are they?

I’m sure there’s plenty but one that comes to mind is the time that I had a 2nd class come in right after their PE. They came in upset that the coach had tricked them about a dog being in the gym that day. I said to them “If you keep calling coach a “faker” from one trick he pulled I’d hate to think what ya’ll would call me.” The general consensus was that I would called goofy… Less jokes more teaching I guess!

•

•

What question do you wish I had asked but didn’t?

Great questions wouldn’t change a thing. Thank you for having me.

Name one accomplishment that fills you with pride so far in your career.

I just finished earning my Kodaly Certification through the University of Montevallo this summer. It’s three levels of rigorous instruction for your musicianship, pedagogy, materials, and conducting all packed inside two weeks of ala breve

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Campus Connections We invite Alabama’s colleges and universities to submit newsworthy material for the “Campus Connections” feature of Ala Breve.

Alabama State University The Department of Music at Alabama State University welcomes Mrs. Rebecca Barrineau Taylor, Choral Accompanist, and Ms. Meg Griffin, Vocal Area Accompanist as the newest members of the music faculty. The Department would also like to recognize and congratulate two exceptional faculty members, Dr. Adonis Gonzalez-Matos, Professor of Piano, for being promoted to full Professor, and Dr. Kristofer J. Sanchack, Director of Choral Activities, for being promoted to Associate Professor along with receiving tenure at ASU this past spring. Placing an emphasis on community-building and

educational outreach this fall, the Department of Music at ASU will present Golden Artistry at ASU, a series of free showcase concerts featuring performances by the ASU music faculty, for Montgomery-area middle school and high school teachers to bring their students to campus to experience. In addition, the ever-popular Piano for Children program, for children ages 612, led by Dr. Adonis Gonzalez-Matos, Professor of Piano, and Dr. Michael Zelenak, Coordinator of the Music Education program at ASU, will begin again in September running through November. We will also be launching a brand-new community outreach initiative this fall, called Suzuki Brass at

ASU, for children ages 4 & up, which will be led by Suzuki horn certified instructor, Dr. Brenda Luchsinger, who also serves as Associate Professor of Horn and Music Theory at ASU. Suzuki Brass at ASU is made possible by a generous grant from the division of Academic Affairs at Alabama State University, and we are very excited to be able to offer this new, unique opportunity to children in our local community to learn about and to love music from an early age. For more information on any of the community outreach and educational programs mentioned above, please contact the ASU Music Office at (334) 229-4341 or music@alasu.edu.

Pat Stegall, AMEA Treasurer/Registrar

Plan Ahead for the 2024 Conference It is not too early to start thinking about attending our AMEA Conference in January 2024. 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 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 30

email with their contact information to me at treasurer_registrar@myamea.org and I will invite them!

Remind your colleagues to join. Include the new music teachers (this year there are many new teachers out there), be involved as a mentor to the young music 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, and All-state and Musical Performance Assessments. Joining NAfME secures your membership in AMEA and your division.

Registration will open soon for the 2024 AMEA conference in Huntsville, so be on the lookout for a link to the online registration 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 in Huntsville.

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In Memoriam From John Cooper...

On June 24, 2023, Jerry Lamar Countryman passed away in Richmond, Texas. He was born on November 5, 1932, in Attalla, Alabama, the son of William Levette Countryman and Fay Warsham Countryman. Jerry graduated from Emma Samson High School in Gadsden, Alabama in 1949. After high school, he attended Peabody Teachers College in Nashville Tennessee. He then married his high school sweetheart in 1953 before he was drafted in 1954. He earned the rank of Specialist 3rd Class as a trumpet player in the Third Army Band Headquarters Band in Fort McPherson, Atlanta, Georgia. After being discharged from the Army in 1956, he graduated from Jacksonville Teachers College in Jacksonville, Alabama with a Bachelor of Music Education degree and in 1959 received his Masters of Music Education from the University of Alabama.

After teaching in Ohatchee and Oneonta, Alabama for short periods, Jerry became the band director for the Decatur City Schools in Decatur, Alabama. Under his direction, The Decatur High School Band received 21 years of Superior ratings at the Alabama Bandmasters Association State Band Competition Festival. The band performed at the 1965 Southern Division MENC Conference, the 1979 Southeastern United States Band Festival (Troy), and the 1982 Tri-State Band Festival (Florida State University). He served as the President of the Alabama Bandmasters Association and in 1983 was inducted into the Phi Beta Mu Alabama Bandmasters Hall of Fame. In 1983, he retired after teaching for 22 years at Decatur High School and in 1984, Jerry and Elna moved to West Columbia, Texas where he was the band director at West Columbia High School for six years before retiring a second time in 1990. They lived in West Columbia for 32 years before moving to Richmond, Texas in 2017 to be closer to their sons. He is survived by his sons Randy Countryman and Greg Countryman, grandson Ty Countryman, Niece Joni Smith and her daughter Emily Smith Riley and Jane Ann Countryman.

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One of the things I learned from Mr. Countryman was to dig into details in rehearsal. We would often hear individual sections, individual parts, and sometimes even individual people to make sure a part was being played correctly. And correctly didn’t mean just the correct notes and approximate rhythm! It meant correct notes, exact rhythms, marked articulation and dynamics! Details mattered! It could be time consuming, but there was a price that had to be paid for a great sounding band.

We understood that because we learned it from Mr. Countryman. Another thing I learned was the importance of fundamentals. We learned about The Seven Essentials of Tone Production, the balance pyramid, the syllables to use for each articulation, the Rhythmic Value Pyramid, and such things before we got into a piece of music. We used methods and Bach chorales in the high school band class, and individually we worked through the Prescott Technique System before we started All State music. Mr. Countryman believed in fundamentals and believed in the systematic presentation of fundamentals. Some of the things I learned from Mr. Contryman were not about music and rehearsal, but they were important. We learned the importance of being on time (if you’re on time you’re late), about our conduct and personal habits, like not yawning without covering your mouth (I’m not your dentist), dressing appropriately and not wearing the uniform in a non-uniform manner, and so many other things.

One of my favorites was the importance of personal excellence (Don’t be a part of the vast army of mediocrity). As I reached the latter part of my career and reflected on my own personal style I realized that one of the important parts of my own teaching style was a reflection of Mr. Countryman. I hope all of the teachers out there had as good a role model as I did.

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From Glenn Spiller..

Jerry was an outstanding band director, and I had the wonderful opportunity to follow him at Decatur High School. Each year Jerry recorded the band for the students to have a record of their work. During the mid 80’s I was rehearsing Verdi’s La Forza del Destino with the band in preparation for state contest and found a recording of the piece that Jerry had made of the band in the early 60’s. That performance was excellent and surpassed all expectations. It redefined a superior rating.

Sometime later, we organized a reunion for all previous Decatur High band students. It was a delight and inspiration to watch Jerry and his former students interact with each other. To say that he was a great band director and teacher is an understatement.

From Tommy Sipes...

It was my privilege to be a student of Jerry Countryman from 5th to 12th grade, and later to serve as Band Director for 4 years at Decatur High's feeder school, Oak Park Middle. In my opinion, Jerry's greatest attribute was his incredible focus on detail.

He was as thorough in making sure that beginners were taught correct basic fundamentals, as he was in perfecting a difficult piece for performance at State Contest. Jerry helped set the standard for band performance in Alabama. All of those who knew him will miss him deeply.

From Byron Dawes...

When I met him was when he came to Somerville Road Elementary school in Decatur, AL, to administer the Selmer Music Aptitude test to all 4th graders. That was spring, 1967. In the fall of 1967 when I was in 5th grade, I walked across the street with my other band friends to the Decatur High School bandroom for my first day of band. I remember everything about it. That afternoon when my mother picked me up from school, I told her that I had changed my mind about what I wanted to be when I grew up (I said I wanted to be a doctor) and now I wanted to do “do what Mr. Countryman does,” That hasn't changed. I cannot possibly relay the experiences of my years in band adequately. Elementary, Junior High, and High School band under the baton of Jerry Countryman was life changing. He didn’t just teach about music, he taught about life THROUGH his teaching of music, and all the while he was instilling his love of music in us. We learned as much about how to live life as we did how to rehearse, play, and enjoy music. It is difficult to use a few words to describe him. There are some things that stand out, however. He was consistent, persistent, methodical, thorough, calm, determined, and fair. You knew what to expect in rehearsals. There was a consistent standard and insistence on maintaining that standard. You were not complimented for falling short, but you were always encouraged to continue to attempt to improve. After he retired, I heard him say “I never handed out praise like lollipops, so when I did compliment a performance, I meant it.” Every rehearsal had a procedure and I vividly remember our warm-up and technical studies procedures. Rehearsals were planned. He knew what he wanted to get done that day and the results he expected to hear.

He would tolerate no interruptions or issues to get in the way of our rehearsal time. Expectations were known by all, and were consistent from day to day, week to week, and year to year. He expected nothing less than our best, and he had the same standard for himself. I think my favorite story to relate is how he approached our summer band rehearsals (these happened on Monday evenings and, I think, Thursday afternoons. ALL concert band. We didn't approach marching band until around band camp time).

As a new incoming freshman on my first Monday night rehearsal, he passed out a couple of those old transcriptions: Finale to Tchaikovsky 4th, and 1812 Overture. He said “Let’s do a little sightreading…” I just sat there watching notes go by. I was stunned to hear a lot of the older band were reading so well. I think I played a couple of the longer notes. When I left rehearsal, I felt that I was nowhere near good enough to be in the Decatur High School Band, and embarked on the most determined practice schedule I had ever attempted for the remainder of the summer and into my freshman year. When my sophomore year rolled around, I attended the first summer band rehearsal and he passed out Tchaik 4 Finale and 1812 and said “Let’s do a little sightreading.” I did much better, but I noticed the freshmen students watching notes go by with a panicked look on their faces. I am pretty sure their practice began in earnest after that night. The man was a genius… ala breve

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In Memoriam

Throughout his life he enjoyed playing his trumpet and later his bass guitar. These are just a few of the groups in which he participated: The Hungry I; The Downtown Horns; The Texas Jazz Cats; The Kings of Swing; Wylie Community Band; East Alabama Community Band; Murphy Road Baptist Praise Band; and most recently First Baptist Church of Opelika Orchestra. He is survived by his wife of 53 years, Becky Goss of Opelika, AL; his daughter Allison (Clay) Stark; and his grandchildren Savannah Stark and Hunter Stark of Parker, Texas.

From Mike Stough...

Stacy Phillip Goss, 76, of Opelika, Alabama died on Thursday, June 15, 2023, following a brief illness. Stacy was born on February 7, 1947, in Tallassee, AL to Frank and Hazel Goss.

His early years and teen years were spent in Tallassee, AL, where he excelled in music. He became a member of the Tallassee High School Band where he not only won numerous awards but met his sweetheart Rebecca Willis Goss. After graduation, he attended Auburn University; joined the Auburn University Band; played with the Auburn Knights and pursued a BS Degree in Music Education. He received a Master of Arts Degree from the University of North Alabama, Florence, AL. In 1970, Stacy was hired to start a band program at Brooks High school in Killen, AL. Under his leadership the band program evolved to win several superior ratings and finished 1st in their class at the Alabama State Contest of Champions. During the five years as Band Director at Brooks High School, Stacy held a secondary job as a studio musician for the now famous recording studios in Muscle Shoals, Alabama. He played trumpet on numerous recordings for artists from all over the country who came to record at Broadway Sound Studios, Muscle Shoals Sound Studios and Fame Studios. In 1975, Stacy became the Band Director at Albertville High School where he taught for over twenty years. During that time the band received many honors including participation in three Macy’s Thanksgiving Parades; winner of the New Orleans Greatest Band in Dixie contest; winner of the Tri-State Marching Festival, Chattanooga, TN; and Grand Champion of the American Music Festival, Opryland USA, Nashville with the symphonic band. He was an avid Auburn fan and enjoyed that the AHS band had the opportunity to perform twice at an Auburn University football game.

According to Stacy, “At Brooks, Albertville, and Carrollton Christian, it was my students that achieved superior ratings, won state championships, won festivals, participated in multiple Macy’s Parades, got standing ovations etc. My contribution was that I cared about them very much.” His additional accomplishments include Outstanding Young Men of America; Jacksonville State Teacher Hall of Fame finalist; Albertville Citizen of the Year; Albertville Teacher of the Year; and President of the Albertville City Education Association.

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When writing about my friend Stacy Goss, I hardly know where to begin! I met Stacy as a freshman at Auburn University and we began a friendship that has lasted ever since. We both played Trumpet in the Auburn Band and the Auburn Knights Orchestra. As a matter of fact we had just begun talking about playing together at the Auburn Knights reunion. Stacy was much more than a great musician and teacher. He was a great friend that would go out of his way to help others. On one occasion, he helped me get to the hospital as I was having a lot of health issues. Little did anyone know that just in a short period of time he would be the one that we would lose! After college we both moved to Florence, Alabama to play in the recording studio in Muscle Shoals. We spent many long nights in the studio and got up and worked the next day! We had many long discussions not only about our work but about life itself. We could talk to each other about anything I could go on and on but space doesn’t permit me to do that. I’ll just say that I loved my friend Stacy Goss and I will miss him greatly!

From Bob Killian...

Stacy Goss - What a man, what a husband, what a father, what a teacher, and what a friend. I am thankful he was my partner in Albertville. I am thankful to have had the privilege of watching him work his magic each and every day. He made me a better teacher, a better friend, a better husband, a better father, a better man. Stacy was my friend.

From Chris Lindley...

Stacy Goss was not only a legend in our community of Albertville, but he was equally well respected in the music education community across the southeast. He dedicated his life to educating and instilling confidence in thousands of students. His unique approach to teaching band was highly successful, as evident by three Macy*s Thanksgiving Day Parade performances over a 15-year period. While earning countless accolades throughout his career, Mr. Goss never allowed the focus of his program to shift away from his students, and he always put the experience of the students first. Upon retirement from education, Mr. Goss founded American Travel Consulting and built the company into a prominent student tour operator in the southeast, continuing his efforts to provide students with unforgettable memories and experiences. Many former colleagues traveled with ATC because of the high respect and trust they put in Mr. Goss. Hearing thousands of stories of Mr. Goss through the years reminded me of just how beloved he was by his students and respected by his peers. His philosophy of “always doing the right thing” will carry on through generations of former students and their families. Stacy Goss was certainly one-of-a-kind, and his memory will live through all those he touched during his 76 years with us.

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From Paschal Ward...

When I celebrate the birthdays of those I love, whether family or friends, it is never about what they look like, what they have achieved, or what they can do for me. It is always about who they are, as it was with Stacy. I met Stacy while I was working as band director in Troy, Alabama. It seems like yesterday because there was a meaningful connection between the two of us. We shared many common likes and I learned a lot more from Stacy than he got from me. He will always be greatly missed by myself and countless others. Our spirit is ageless and precious in God’s sight and in the hearts of those who love us. Thank you, Stacy, for being a great and caring friend.

From Curtis Burttram...

An Original...One of a Kind...Legend. I struggle with finding words to describe my respect, admiration, and deep love for Stacy Goss. I always looked forward to being in his presence and learning from his knowledge and insight, whether about band, music in general, our mutual love of the classic horn band songs, and especially about human nature. I was blessed to get to be a part of the Albertville "Aggie" Band Culture that Stacy created when I became band director upon his retirement. As difficult it was to follow him and all the success the band had achieved(see Ray Perkins replaces Bear Bryant) I accepted the position because of who Stacy Goss was... knowing he would be my strongest supporter and aly. Because THAT WAS who HE WAS... always wanting the best for any person he crossed paths with especially students, band parents, and fellow directors. All of who have had the priviledge to teach and work with the Aggie Band since he came to Albertville in 1975 know we stand on his strong shoulders and the incredible foundation he laid for 21 years... the most amazing high school and middle From Rick Teel... school band program I know of. His legacy lives on through all those If Stacy were here, I think he would agree with the term Accidental students and all of us who he made better from having known him.

Band Director. He planned to finish his degree at Auburn and find a job in another field. But life situations, necessity, and opportunity changed that. That’s a whole other story in itself, and he had lots of good stories.

From Kirk Clark...

Mr. Goss, as I have always called him, came to Albertville in 1975 as the Al- Once he had a job, he realized that he liked dealing with the students bertville High School Band Director. From day one, it was obvious to me and watching them excel. If you have been involved in music education that my choosing Band as a class and a way to coast through high school in the last 50 years, you were probably aware of his bands. If you quickly changed. This class got serious real fast, As I was told one day that haven’t seen them in person, you’ve might have seen them on if I were to remain in the program, my attitude among other things would Thanksgiving morning. And even if you missed his bands, you may have to improve. I quickly began to call this the Mr. Goss way instead of my know him through his business, American Travel Consulting. In both way. That is when it all began for a know-it-all, rebellious 16-year-old that endeavors, he was always there with a smile, willing to listen, and help did not understand the Mr. Goss way…. yet. But it did not take too long to in any way he could. A big part of Stacy’s legacy will be his kindness and his willingness to help people. He will surely be missed as a music learn values like; educator, loyal friend, and an outstanding human being.

• Determination • Dedication • Do your best • Commitment • Respect is earned • Actions always speak louder than words • Hard work pays dividends And many more. This time period was a turning point in my life, for the best. As Mr. Goss did for many, many others, He gave me a chance. He believed in me. He caused me to strive to be the best I could be. I will always have the utmost respect for him. As I told him, every time we talked over the last few years, I will be forever grateful to Stacy Goss for investing in me. For taking the time to help me realize the above-mentioned values and the benefits of them. As I look back, from what I know about his illustrious career, it would be hard to imagine the perpetual, positive impact he has had on so many people. Whenever I have the chance to speak, I try to always finish by saying we should look and find ways to make a difference in people’s lives because there have been so many that have truly made a difference in mine. I always think of Stacy Goss. Stacy Goss. Great Man. Great Family. Life Well Lived. ala breve

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From Philosophy to Practice: 10 Tips for a Successful Student-Teaching Experience

By De’Shun J. Iverson You are going to be a student-teacher; what an exciting time for you as a young professional!

great deal in the student-teaching experience and positively shaped our skills as musicians, teachers, and music educators.

No more talking in the abstract about learning theory, programming, or Neapolitan chords, right? WRONG! You will still do all of this and more as a teacher. Your teaching internship is a small-scale window that gives you a glimpse into all of the pedagogical and non-pedagogical aspects of the teaching profession.

From those late-night conversations and many seminar sessions came the ten points below. These are some of the most significant takeaways from my student-teaching experience.

1

Who are you? You will be the newbie on the block.

You must be very proactive about making your presence known even before you arrive. It’s very important for everyone that you will encounter to know who you are! This includes your mentor teacher, your students, administrators, and other teachers that work in the building. And while you may not see it as commonplace, it would behoove you to make yourself known to the classified staff as well (the nutritional staff, custodians, administrative assistants, paraprofessionals, etc). This allows you to start, build, and maintain a professional working relationship with everyone! Finally, you need to make yourself known to the parents. Consider writing a letter that includes your background, goals for student-teaching, and how you will help provide great musical experiences for the students. All of this work in conjunction will set you on your way to being known!

2

Who are they? The easiest way to connect with the students is by learning and using their names. In a small program, this may be very easy to do very quickly. This may be challenging to do in a larger program or an elementary music classroom, but the challenge should

I was fortunate enough to student-teach in a small southeast Alabama community where everyone knew everyone. The students, faculty, staff, and parent organizations were very close and connected. Because of these connections, I was afforded a stellar student-teaching experience, one that continues to influence my various approaches in the classroom.

During my internship, all of the student-teachers would convene biweekly in a lecture setting with our university supervisor to highlight our experiences, discuss what worked well and didn’t, and how we were fairing. The most important question posed in every session was, “What are you working on now?” This question implied that our efforts as inspiring, thoughtful, assertive, and dynamic teachers were never-ending.

Of the many conversations and late nights that our cohort spent together talking shop, we recognized that we were finally putting the abstract from our undergraduate education curriculum to use! The Zone of Proximal Development? It mattered. Being able to explain why a V7/V chord functions how it does? It mattered. Understanding how to resolve conflict? It mattered. Each of these things and more played a 36

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not phase you. If you expect the students to know you, you need to know them. After learning the students by name, you may consider creating activities where you learn about their interests! What music do they like?

What are their hobbies? What are their favorite holidays? You can find ways to incorporate their interests and tidbits about them into various music activities. From my experience, the more effort you put into connecting with the students, the more responsive they will be to you.

3

You are second in command. Your mentor teacher will allow you PLENTY of opportunities to lead, but your expectations need to mirror that of your mentor teacher. Remember, it’s their classroom; you are privileged to have the opportunity to learn from and work with them. Yes, you will be seen as an authority figure, but [in most cases] you are not listed as the teacher of record, nor are you employed by the school district. You can learn about the policies, procedures, and expectations of the classroom and school by…

4

Communicating with your mentor teacher. Well, you really need to communicate with everyone! This includes your mentor teacher, university supervisor, students, administrators, etc. However, you will be learning how to “be a teacher” in real-time from your mentor teacher. Pick their brain about philosophy, expectations, how to teach a concept, etc. You are being placed with professionals who have far more experience than you do. You can only benefit from asking questions. Yes, you may be an aspiring teacher, but teachers are learners, too! Similarly, they will give you the ‘ins and outs’ of how the school operates, school policies, and how to become better at the craft.

If you take advantage of forging a working relationship with your mentor teacher, their guidance will set you up for great success once you get into the real world. You will also find a professional [and hopefully] lifelong friend in them.

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5

Remember the lesson plans? They DO matter. If you fail to plan, you plan to fail. I was fortunate to have a mentor teacher who would ‘throw me in the water’ with very little notice. In fact, I was on my own on my second day of student-teaching! And of course, no matter what happens, the show must go on. How was I to teach a lesson to several classes of students whose names I didn’t know, especially with very little prep time? The answer – be prepared. Sure, your teacher will help you develop a plan if there is an expected absence, but this level of preparation won’t always be at your disposal. Plus, the lesson plans matter for many more reasons than filling instructional time. You are teaching content that students need to know. It is your job to help make them aware of, understand, and apply knowledge. Having a plan does not just help with classroom management… IT IS CLASSROOM MANAGEMENT! Your preparation and overplanning of lesson material help minimize behavior problems so that you can maximize instruction! When something on your ‘plan’ goes awry, don’t panic – just try something else. Remember, you are one of the experts in the room. Everyone is counting on you to know the answers. Can’t know the answers if you don’t have a plan!

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Be excited AND exciting! “Every day is a great day for band!” Each day is the best day to teach whatever you will be teaching. Your students will be as bought in as you are and will mirror your example. If you are thrilled to make music with them, they will be thrilled to make music with you. If you are upset or bring your baggage to the instructional space, you are inviting the students to do the same. You set the tone for the environment. You are a leader. Even on a bad day, you don’t get to have a bad day. Show up each day with a positive attitude, ready to work. Smile!

7

Be professional. This goes without saying, right? A professional boundary between you and the students must be in place. Be friendly. Don’t be their friend. Let

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the students know your expectations and tell them what can be expected of you. After this, follow through on your word. If you have to ask, “Is this a good idea,” it’s not. Maintain the highest level of professionalism as often as possible (this includes how you dress).

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9

RECORD YOURSELF. You will not enjoy it, at first… but this is one of the most beneficial ways to assess yourself and have others assess you. You will eventually say, “I wonder why that didn’t work,” and having video evidence of whatever ‘it’ was will allow you to review your approach! You will be able to listen to your speech pattern and evaluate whether your pacing is effective. You will notice off-task students and determine whether you are interacting enough to keep them on task. You will identify effective strategies that you may use as you continue to build your teaching arsenal. As you gain more recordings of your teaching over time, you will notice differences in your skill level to connect, pace, and deliver instruction. Plus, years from now, you’ll have something to compare yourself to once you’ve written the success story that will accompany you.

Reflect. I was afforded a great deal of podium time in my internship. My mentor decided that if I was to learn how to ‘do,’ then I needed to ‘do’ as much as

possible. On days when I was to teach full class periods, I was given little guidance on what to do and was sent off to the races. I planned. I executed. I tried.

I succeeded. I failed. What worked, I kept. What didn’t, I either did away with or retooled to make work. And at the end of each day, we (my mentor and I) would sit and talk about the day. Sometimes, there was simply a “good job.” More often than not, we got into fine detail about why an approach was effective or not, how to pivot when the lesson plan failed, and what to do when I didn’t know what to do. Use the criticism to make you better at the craft. Be willing to admit when you don’t know or understand something and ask for help. Growth is the end goal. There will be much to learn, accomplish, and reflect on.

10 ENJOY THE EXPERIENCE! This is what you’ve been waiting for! This is your opportunity to build your brand. What will you say? What will you do?

How will you do it? These are all questions that you must ask and answer. What you make of your experience as a student-teacher will heavily influence how you ‘find your way’ as you transition from being a student to being a teacher. Show up early. Stay late.

Set out the chairs. Greet students at the door. Smile.

Be inviting. Be kind. Have high expectations. Make music. Make a lasting impression. Set boundaries.

Plan. Execute. ASK QUESTIONS. Work hard. Enjoy every minute. You were made for this!

The list is not exhaustive by any means. In fact, it’s neverending. These ideas and questions will follow you into your first job and maybe even for the remainder of your career.

Embrace them! You are a lifelong learner, and we learn best by doing. As we grow and gain experience, we find ways to do it better little by little.

Have a great school year and student-teaching experience!

De’Shun J. Iverson is an alumnus of Troy University. He student-taught in Spring Semester 2022 at Opp Middle School and Opp High School in Opp, AL with M. Dillon Worley. He is currently a Graduate Music Education Major and Graduate Teaching Assistant at Troy University. His primary responsibilities include co-teaching the University Concert Band and working extensively with the “Sound of the South” Athletic Bands.

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FAME e A Futur

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Scholarship Essay -

Why I Want To Be A Music Teacher AMEA recently awarded the FAME scholarship to Jordan Cutchens, a 2023 graduate of Holtville High School. Scholarship recipients must have attended the FAME program and plan to major in music education at an Alabama university. Jordan plans to major in music education at Auburn University.

Music is a calling. A feeling, a dream for those that are awake. Music education, too, is a feeling and a calling. It is a profession that demands time, study, and love.

Time is spent with your students, time is spent practicing and reading scores.

Time is spent looking at fundraisers and going to meetings that have nothing to do with music, but only on the surface is that true. Even things that at first would appear as tangential to music education can sometimes be indispensable to the teacher, and more importantly, to the students. Part of our job as music educators is to cut through as much red tape as possible so that our students can enjoy the better parts of the music experience, rather than lobby for the arts at our behest. Regardless of the specificities, time is vastly important, and is a resource to a music educator.

Study can be looked at as a way to spend time, but I feel that it is important enough to look at separately. In my experience, the most important thing you can teach a student to do is to practice well and to love their band.

With these two things in mind, I believe any student will give their best effort, and that is what matters. To the music educator, it is vastly important that they follow their own example, and put just 40

as much work into their side of the concert as their pupils. If they must learn from their mistakes, we must too.

We must acknowledge our own failings, as much, if not twice as much, as we acknowledge theirs. Not out of any sense of self-loathing, but honesty.

Love. We must show them that confidence and perfection are not synonymous. If we can mess up, ourselves (and with all of the duties of a band director, that is not unlikely), acknowledge it, and move on, we set a good precedent. If we dedicate ourselves to studying the scores we put in front of them, we show them that we care and are working too. Oftentimes, many young pupils see their teachers as immutable bastions of art, unflinching and perfect. This is, of course, a lie; we simply have more experience than they do at the time. Showing them that we all study and work to improve ourselves unites us as band PEOPLE, not band directors and band students, but a united force, with one purpose.

Love is most important of all. A quote I personally agree with posits: Without luck, you can’t catch a fish in a flood, without love, you can’t divine truth from blood. In my opinion, love is the cornerstone of all education, especially music education. One has to love music itself to enter the field (no one ever got

into teaching for the lucrative salary or the tax benefits), but further still one must love people. Those who love music but despise children should seek employment outside the education system. We are not ascetic hermits, musing on philosophical ideas of music in isolation, we are here to further all of our journeys at the same time.

These traits are important to be a music educator, but I believe that more importantly, music education will allow us to grow these traits. Who doesn’t want to be more timely, studious, and loving? I believe that music education is a way to grow spiritually as well as a way to grow others around you, and I want to be better. I also want to impart that want to be better to my students.

Every student should have access to music education, no matter where they were born or who they are. The biggest barriers to entry are those of cost.

Relatively speaking, music can be expensive to get into compared to other professions, both timewise and monetarily. Most kids, at least around here, grow up playing games like football, and are taught, basically from birth, the rules of most sports by their parents. Music, however, is elusive to those who don’t have family already in August/September 2023

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the profession. That means that a lot of students getting into music have little to no idea of what to do on their first day.

I should know. On my first day playing clarinet, I put the reed on backward, broke it, and had no other reeds (I spent the rest of the day furtively pushing buttons to figure out what they did, a sight which brought my young brain much joy.) Secondarily, instruments are expensive, and parents that have to buy their own instruments from day 1 can be scared off pretty easily. Because of this, it is important to lobby for music education in your community and your parent-teacher organization, and in your administration, and even negotiate for the companies that will sell for the best price. As I said earlier, it’s our job to cut through the red tape so they can enjoy their journey without having to face some of the bureaucracy that surrounds them. In “Night in the Woods”, it was wisely put: “A lot of the scariest stuff is really boring.” We should do our best to save the kids and their parents who work. Music should be enjoyable, not like filing taxes. At least, not on their end. If we can ease the process for them it will have been well worth it.

AMEA’s FAME Scholarship Recipient, Jordan Cutchens

AMEA Presidents - Past to Present 1946

Yale H. Ellis

1974

George Hammett

2000

John McAphee, Jr.

1948

Walter A. Mason

1975

Frances P. Moss

2002

Tony Pike

1950

Vernon Skoog

1976

S. J. Allen

2004

Becky Rodgers

1952

John J. Hoover

1978

W. Frank McArthur

2006

John Baker

1954

Lamar Triplett

1980

Paul Hall

2008

Pat Stegall

1956

Carleton K. Butler

1982

Lacey Powell, Jr.

2010

Steve McLendon

1958

Mort Glosser

1984

Johnny Jacobs

2012

Sara Womack

1960

Wilbur Hinton

1986

Merilyn Jones

2014

Carl Hancock

1962

Lacey Powell, Jr.

1988

Ronald D. Hooten

2016

Susan Smith

1964

G. Truman Welch

1990

Ken Williams

2018

Greg Gumina

1966

Jerry Countryman

1992

Dianne Johnson

2020

David Raney

1968

Floyd C. McClure

1994

James K. Simpson

2022

Rob Lyda

1970

Jerry Bobo

1996

Johnnie Vinson

1972

Frances P. Moss

1998

Michael Meeks

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Choral Music Reviews

by Dr. William Powell

Focus: Non-SATB edition

I Sing That My Voice May be Heard (SSAA voices, a cappella) Words and music by Gwen McLeod Hall Gentry Publications, copyright 2016 Duration: Approximately 2:35 JG2488 / $2.75

I sing that my voice may be heard In the language of souls Whose passion and courage Rise from the earth Voice upon voice Heart upon voice Their symphonies of word and deed Drown the cacophony of injustice 42

Their symphonies of word and deed Breathe hope, sing hope I sing that my voice may be heard In the language of souls And wherever voices are rising My voice will sing!

Gwen McLeod Hall creates a well-voiced and well-harmonized melody that is set to her uplifting poem. Its difficulty level is rated as medium. Marked “cantabile e rubato,” it is important that the conductor allows the phrases to “breathe” where indicated in the score rather than ignore the breath marks and default to a strict tempo throughout. Although scored for SSAA, there are three staves for voices and a grand staff for piano (rehearsal only). Divisi occurs in each staff at times, but primarily in the alto staff and secondarily in the Soprano 1 staff. There are also a few measures where voices are divided into five parts which helps to expand the lush harmonies.

Weep, O mine eyes (TTBB voices, a cappella)

by John Bennett (c. 1575-c.1614) arr. for TTBB voices by William C. Powell Hal Leonard Corporation, copyright 2021 HL 08596753 $1.70 Duration: Approximately 2:15

Weep, O mine eyes and cease not, Alas, these your spring tides methinks increase not.

O when begin you to swell so high that I may drown me in you?

There are few Renaissance songs that grip the heart in the same manner as John Bennett’s setting of “Weep, O mine eyes.” Originally composed for mixed voices, I chose to set it for TTBB voices to provide another piece of repertoire for developing TTBB choirs, while also making a connection with music from the English Renaissance.

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Bennett’s composition provides many developmental lessons for singers. Those lessons include sustained phrasing, maintaining blend and balance, tuning, rhythmic energy in the context of a moderately slow song, discovering opportunities to build intensity in cadences, etc. The rhythms and notation are simple, but the primary challenge is in the rhythmic independence of each voice part.

Gloria in Excelsis Deo (two-part chorus and piano)

by Antonio Vivaldi (1678-1741) Arranged by Victor C. Johnson Heritage Music Press: 15/3252H-2 $2.75 Duration: Approximately 2:45

Music is in all growing things; And underneath the silky sings Of smallest insects there is stirred A pulse of air that must be heard.

Earth’s silence lives, and throbs, and sings.

If poet from the vibrant strings Of his poor heart a measure flings, Laugh not, that he no trumpet blows: It may be that Heaven hears and knows, His language of low listenings.

Gloria in Excelsis Deo Victor Johnson does not disappoint with his two-part setting of the first movement from Vivaldi’s Gloria. In the same key as the original SATB composition, Johnson skillfully maintains the full integrity of the movement by also retaining the prominent harmonies and cadences realized in the voices. The difficulty level is classified as medium-easy, making it very accessible to most treble choirs. I believe this setting would work well as an introductory song for first-time singers of Latin text, especially since the accompaniment drives the melody forward, and the amount of text is limited to four words (nine syllables total). The piano accompaniment works best if the player is proficient in technique, and plays with energy and agility.

Music of Life (SAB, piano) (also available for SSA, piano)

by B. E. Boykin Poem by George Parsons Lathrop (1851-1898) Oxford University Press OU 9780193561700 $3.25 Duration: Approximately 3:00 ala breve

Brittany E. Boykin is a young African American female composer whose works are being sung around the globe. “Music of Life” is arguably one of her most recognizable and accessible choral octavos. Originally composed and premiered at the 2017 Women Composers Festival of Hartford, the work is also available for SSA voices. Written with a lilting feel, each voice part remains in the middle range throughout most of the song. The piano accompaniment has a harp-like ostinato rhythm which provides movement and flow. It requires a player who has good control and who can maintain steadiness of tempo.

Because of the uncommon wordings in the poetry, it might be helpful to include the poem in the printed program, or at least have someone recite the text to the audience. Otherwise, it will be a challenge to clearly enunciate the text for the listener, especially if the song is taken too fast.

Choral Reviews William Powell Director of Choral Activities Auburn University

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Legends of the Galaxy was written for the Florida Bandmasters Association Middle School Honor Band. This three minute fanfare consists of three sections. A driving opening starts the piece, and utilizes syncopation, some use of accidentals, and fluctuating meters. This section also utilizes a moving bass line with a steady hihat pulse that creates a propulsive

by Dr. Jeremy Stovall drive. Next, a calm middle section contains beautifully lyrical melodies. Finally, a high-powered ending section contains call and answer passages and a climactic ending.

Band Music Reviews Band Music Reviews

by Dr. Jeremy Stovall As we return to a new academic year, I hope you all have found exciting pieces to fill out your concert programs.

Here are three pieces I am am eager to review below, and hope you will find them as appealing as I have.

Instrumental ranges are all within the normal guidelines for a grade 3 composition. The percussion parts can utilize anywhere from 8-10 players. Doubled parts throughout create stability and comfort for the ensemble. Legends of the Galaxy is an exciting and energetic work that would be a perfect concert opener.

A recording and score of Legends of the Galaxy - A Cosmic Fanfare can be found at the following link: www.chandlerwilsonmusic.com/symphonicworks/legends-of-the-galaxy.

Winter Milky Way (2017) is a grade 3 work by Yukiko Nishimura. Nishimura is a Los Angeles-based composer and pianist who was born in Japan, and was a former student of Alfred Reed at the University of Miami. From the composer: “The image of this music is the color of white. The music brings the smell of winter season: you can imagine the snow or chilly air, or maybe even clear skies and ice. One could also feel the joy of the holiday season.”

Legends of the Galaxy - A Cosmic Fanfare (2016) is a grade 3 piece by Chandler Wilson (www.chandlerwilsonmusic.com). Dr. Wilson is the Assistant Director of Athletic Bands and Assistant Professor of Music Education at Florida State University.

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Winter Milky Way is composed in three sections with a key signature of Bb Major throughout. After a brief introduction, a beautifully lyrical theme is stated by a woodwind choir. The development section contains some use of accidentals. A faster second section features more independent parts, and some woodwind 16th note runs.

The piece ends with a recap of the first theme and a coda containing material from the second section.

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Trumpet ranges test the limits of a grade 4 composition, and the Euphonium doubles many of the woodwind flourishes. The percussion parts can be played with as few as 5 players and require confident players due to the independent nature of the parts at times. FanfareHAYABUSA would be a thrilling concert opener.

A recording and score of Fanfare-HAYABUSA can be found at the following link: www.youtube.com/watch?v=cDKzSl_UrhU.

Instrumental ranges are very comfortable with not many technical challenges. Rhythms are fairly basic with some use of syncopation. Most parts are doubled, creating a sense of security, especially with developing players.

Percussion parts are minimal and can be played with as few as 4 players. Winter Milky Way would be a perfect addition to a spring concert program.

A recording and score of Winter Milky Way can be found at the following link: www.youtube.com/watch?v=UunlzSjWZ2Q. Fanfare-HAYABUSA (2011) is a grade 4 composition by Japanese composer Satoshi Yagisawa. Hayabusa was a robotic spacecraft developed by the Japan Aerospace Exploration Agency (JAXA), and was the first spacecraft created to deliberately land on an asteroid and take off again. It was launched in 2003, landed in 2005, and after successfully collecting samples from the asteroid, returned to Earth in June 2010. Yagisawa was commissioned to write this piece for the band of NEC Tamagawa to commemorate the success of the Hayabusa mission.

Fanfare-HAYABUSA begins with a maestoso chorale that is the basis for the entire work. After this opening statement, the tempo picks up, and the piece becomes more march-like. Syncopated rhythms, woodwind flourishes, and percussion hits characterize this faster section. The opening chorale makes a triumphant return in the next section led by the winds, with rhythmic percussion underneath. The work concludes with a glorious brass fanfare that leads to a riveting finish. ala breve

I hope you all had a safe and restful summer. Best of luck to everyone as we begin a new school year. 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

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General Music Reviews

by Jason Jackson

day on, anyone was welcome to cross Ruby’s blue bridge.

Santiago’s speech that he repeats for each person crossing his bridge sounds very rhythmic. Ruby’s speech at the end of the story uses the same rhythm, but she changes her words. You could play this rhythm on unpitched instruments (tubanos, rhythm sticks on the floor, coffee cans, found sounds, etc.), let the class create body percussion to fit, or turn it into a melody to sing or play (maybe something menacing in a minor mode?). Ask your students to list some snacks to bring to Santiago and create a word chain to speak or play. Ask your students what other ideas they could add and turn it into a full‐ blown performance!

I love so many things about the modernization of this folktale: a female protagonist, Hispanic representation in the characters, the twist at the end, fantastic full‐page illustrations, and the length makes it short enough to use in one class period, yet still posing a moral at the end of the story to discuss with kids.

The Little Blue Bridge

by Brenda Maier, illustrated by Sonia Sánchez © 2021 Scholastic I’m not sure who gets more excited when they start setting up the book fair in the school library, me or the students. I found The Little Blue Bridge at our book fair a few years ago and had to get it.

This is a retelling of the classic Norwegian folktale, “The Three Billy Goats Gruff”. Ruby enlists the help of her brothers, Oscar Lee, Rodrigo, and José, to help pick blueberries for a pie. The only way to get to the berries is to cross the bridge blocked by the bully, Santiago. Each of the three brothers smooth‐talks his way across the bridge, until Ruby comes along and decides to build her own nicer bridge with painted blue planks and handrails.

On their way back from berry picking, the brothers notice the new bridge and ask Santiago if they can cross.

Santiago points to Ruby and says, “Ask HER.” From that 46

Also check out The Little Red Fort by the same author with Ruby and her three brothers as the characters. It’s another retelling of a classic folktale, “The Little Red Hen”.

Visit Brenda Maier’s website for teacher resources to use with both stories. They aren’t music‐specific, but you may get an idea from some of the suggested activities: http://www.brendamaier.com/teacher‐page.html

Jason Jackson teaches K‐6 general music at Daphne East Elementary School and is President‐Elect of the Elementary Division of AMEA.

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‣ 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

October 14, 2023 South Alabama Marching Band Championships November 11, 2023 Jaguar Marching Honor Band December 8-10, 2023 USA Concert Honor Band

Audition Dates January 6, 2024 February 3, 2024 March 16, 2024 April 6, 2024

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

To View Audition Requirements visit southalabama.edu/music or jaguarmarchingband.org USA offers in-state tuition to all out-of-state students awarded an admission scholarship for academic merit at the time of admission University of South Alabama, Department of Music | LPAC 1072 5751 USA Drive South Mobile AL 36688 | 251-460-6136 | usamusic@southalabama.edu

www.southalabama.edu/music | facebook.com/southalabamamusic

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Andy Nevala, Christopher Kozak, and Dave Camwell

The Roles of Each Part in a Jazz Ensemble and What Music To Play

Greetings from the Alabama Jazz Collective! Andy will cover the roles of each part in a jazz ensemble, and Chris will cover what music to play!

Dr. Andy Nevala, Director of Jazz Studies, Jacksonville State University, Director, JSU Jazz Ensemble I, 2023 Downbeat Magazine winner for “Outstanding Performance, Undergraduate Jazz Ensemble”.

I’m often asked, “What can I do to get my Jazz Band going?”. First and foremost, you need to understand how a Jazz Ensemble works. Like a Symphony Orchestra, each player or part has a specific role and purpose toward the greater good of the Jazz Ensemble “sound” and performance.

Knowing who to put in the right place, at the right time, is the key to success.

The rhythm section is the cornerstone of the band. There has never been a great band with a bad drummer, and vice versa: many mediocre bands can sound great with a really good drummer. The drummer’s role is to set the style, whether it’s a medium swing, funk, bossa, straight eights contemporary, while at the same time 48

“kicking” the band: setting up the figures the band is about to play so the band knows exactly where to come in.

Often reading is an issue; fortunately, many of the charts come with recordings, so if that person can’t read music, they can try to have it memorized from the recording. The bass player provides the foundation of the harmony, that “Overtone Series” deep musical theory stuff that makes the chords sound full and the band sound in tune. The bass also needs to match the bass drum in whatever style you are playing, as the kick drum serves the “attack” for the acoustic bass note to cut through the band.

Charts for bass players have chord symbols and written-out bass lines.

Your piano player and guitar player are there to support the band and soloists by comping. One of these two needs to be able to read music, as some of the charts that are geared towards beginning bands have detailed piano/guitar parts written out along with chord symbols. Be careful about letting these two both play all the time - they will clutter and muddy the sound if two harmonic comping instruments are playing at the same time. Think about these things when you are

holding rhythm section auditions! I have multiple drummers and like large rhythm sections, but not everyone plays on every tune, and they all need to know their roles so it doesn’t sound like a hot mess.

The lead trumpet player has a critical role in how your band will sound. The person on that part, given the nature of the sound of the trumpet in a high register, will be heard, and the lead trumpet player determines style, note lengths, articulations, volume, tempo, dynamics, and feel. The other musicians in the ensemble all listen to the lead trumpet part, and that is why the lead trumpet should be in the back row, in the middle of the band. Your lead trombone player should be directly in front of the lead trumpet, as well as the lead alto player where they can hear the lead trumpet and match the style and articulations. Of course, this is all predetermined by your score preparation with the recordings, and you tell the lead trumpet how to play what you want played before the first rehearsal. Once you dive into the score preparation it’s easy to hear how the great bands all played the same articulations, etc…, and that’s the reason they are the great bands. The 2nd trumpet part is sometimes a split lead part: this player can play a little bit of lead to help the lead player out, and the parts that are written for this player are in the higher range as well. The soloist in the trumpets needs to be on the 3rd or 4th part: soloing is a different skill set, and often this person is practicing soloing rather than working on range studies.

Trombones and Saxes that aren’t playing lead are all equally important.

The bari and bass bone hold down the low end of the band and should be on the opposite side of the band from the rhythm section. The 2nd Alto, 2nd Tenor, 2nd Bone, and 3rd Bone are all playing harmony notes in the chords or playing a part that matches what the August/September 2023

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2nd and 3rd trumpet are playing, so ideally those players would sit in a straight line like the lead players, so they can hear the part and match the person behind them.

The soloists are usually the 1st tenor, 2nd or 3rd bone, and 4th trumpet.

These folks need to be closest to the rhythm section because when it’s solo time, the rhythm section needs to be able to hear them as if they are playing in a combo setting, so everyone can react to each other and play together.

If there is a feature for an instrument, that person should come out in front of the rhythm section side of the band for the same reason.

Now that you know the roles of each player, put the right players in the spots that will serve the overall function of the band in the best way. If you can hold auditions, have different options for them. Provide a lead trumpet part or a 4th trumpet part for them to choose from. Same with trombones.

The lower parts are a great way for newcomers to jazz to contribute to the ensemble and are just as important as any other part. Put the right person in the right spot for the right reason. I’ve also included a diagram of my jazz ensemble concert setup. Now you are ready to find some music to play!! If you have any questions, don’t hesitate to reach out at anevala@jsu.edu.

Christopher Kozak, Director of Jazz Studies and Instructor of Double and Electric Jazz Bass, University of Alabama A question that comes up often from High School and Middle School Band directors is, “Where do you recommend finding some easy beginner charts for our Jazz Ensemble or Jazz Band?” It isn’t enough to point someone to a website and just randomly pick charts from a grade 1 level. Doing that can and many times does, lead to picking charts that lack some of the fundamental groundwork that can help build better musicians in your sections leading to a bettersounding band. It can also be difficult to ascertain your band’s grade level, especially before a semester or when you haven’t auditioned your sections yet for placement. This is a great opportunity to have some easy charts on hand to help determine their abilities.

An important place to start is determining how advanced your students are. Can the lead trumpet players play a G above the staff ? Can your Piano player read chord charts and improvise an accompaniment?

How many of the students are strong improvisers? Does your rhythm section have solid time and can play different styles? How well do your sections play in tune? Do you have a full band or is

Jazz Ensemble Setup with Chair Placement ala breve

there a unique blend of instruments?

How many of your students are familiar with Jazz? The list goes on but thankfully most grade 1 and 2 charts will have indicators as to how complex the arrangements are as in what ranges are expected, the difficulty of the rhythms, and stylistic concerns i.e., can your 8th grade Jazz Band play an uptempo Funk chart in 7/8? (BTW, if you can do that, I’d love to hear your band!) A lot of the charts will have at least 3 woodwinds, and 5 or 6 brass that can be “shared” or doubled with similarly tuned instruments. It’s ok to mix it up a bit to fill out the sound if they work within the arrangement. You may consider using “convertible” charts for your smaller groups or combos to get them familiar with playing in harmony or just reading charts. While they aren’t always ideal, having the options of Eb, Bb, and Concert/Bass clef parts available to everyone is a surefire way to include as many of your talented students as possible. Once you have those questions answered, you’ll at least have a good idea of what charts to pick based on the criteria you are looking for.

Another thing to consider is genre.

There are plenty of easy-grade charts that take a popular tune such as the Rolling Stone’s “Satisfaction” or Bon Jovi’s “Livin’ on a Prayer.” Those can be fun places to start however, I might recommend selecting one of the more well-known arrangements that have been adjusted for a particular grade level. A few suggestions would be Roy Phillipe’s arrangement of Count Basie and Neil Hefti’s “Little Darlin’,” Mike Sweeney’s arrangement of “Wood Chopper’s Ball,” or Rick Stitzel’s “Freddie Freeloader.” Those are all contrasting styles within the genre, somewhat varied tempi, and accessible for a starting band. Most importantly they are from the traditional jazz repertoire that they will most likely 49

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work from as they progress to more challenging material within the idiom in following years.

Dave Camwell, Director of Jazz Studies and Associate Professor of Saxophone, Troy University

Now I’m not saying to do away with anything other than swing. Jazz is and has always pulled from many other styles. Making a connection with your students and audience by programming something familiar can help draw them in. The previously mentioned popular charts would be a fine addition to a program that your audience might connect with. These style charts can help foster the foundation for getting a band to collectively understand rhythm, dynamics, and articulation; however, don’t program only that style of chart for a single concert, or as I say, “try not to use all of your sprinkles on one sundae.”

There is perhaps no greater impact on the success of an ensemble than the repertoire that its director chooses.

Selecting a range of quality music that exposes our students to a range of different styles, genres, and difficulty levels is certainly among the most important choices a director makes. I would counsel that any jazz band director consider the following when choosing your charts:

There are currently several resources I like to use which have graded offerings that many of you might (or might not) already be aware of. EJazzlines.com, Hal Leonard, UNC Jazz Press, and Jamey Aebersold are great places to start. Check out their Grade 1 (easy) and Grade 2 (medium-easy) charts for your bands. Many of these publishers or distributors not only offer hard copies but allow downloadable PDF versions of a variety of charts for your groups. While staying within the copyright boundaries, you can secure your library and have access to parts when the inevitable, “my dog ate my Jazz Band folder” comes about. It makes for much easier storage and library management not to mention securing your materials for years to come.

I hope you find some of this information helpful. Remember, you can contact me at ckozak@ua.edu or any of my colleagues with questions or recommendations. Don’t forget: listen to and play Jazz every day. It’s good for you!

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1

2

3

DIFFICULTY LEVEL: Ascertain the grade level the majority of your musicians are at, and choose charts that are a good fit in this regard. A typical set consists of about 57 charts, so it is a good idea to have a couple of tunes that are relatively straightforward and easy to read down. Pick at least one tune that stretches your ensemble to foster growth and increased maturity.

MORE THAN YOU NEED: In rehearsals early in the season, it is a good idea to have more charts than you need in the folder. Not only will some be a better fit than others in terms of difficulty level, but it is also important to ascertain which charts your ensemble likes, and those they do not. A director will ultimately make the call on which charts will be selected to work on, but it cannot be overstated to pick charts that are not morale killers. Many quality charts are worth the time of your band; you will have more buy-in and a happier group if the members like the charts!

VARIETY: At the middle and high school level, it is very important to have a mixture of swing, Latin, rock, and

4

5

contemporary charts.

Exposing young musicians to the unique skill sets of these different genres is very important to their development. You can also add charts with vocalists, augmented percussion sections, ballads/features, and themes, such as the big band dance hits of the 1930s-40s.

CONSTRUCTIVE COMMENTS: Strive to have one (or more!) constructive comment for each section of the band in each rehearsal.

Students thrive on being encouraged and challenged, and your role is to mentor them on both their instrument, ensemble playing, and in a proper jazz style. If you are unsure of any particular instrument or section, bring in a professional and glean as much information from them as possible. There is also a wealth of knowledge available through publishers and the internet, with one of my favorites being Jazz Pedagogy: The Jazz Educator’s Handbook and Resource by Richard Dunscomb.

STANDARDS: Become aware of the most popular composers and arrangers of this music, as well as quality publishers, such as those listed above by my colleagues.

Keeping an ongoing list of charts you like and think might be a good fit for your ensemble is an excellent idea; add to it from published lists, live concerts, youtube, social media, and other trusted and recognized jazz sources.

Conferences such as the Jazz Educators Network (JEN), and various festivals in your area can be very useful as well.

August/September 2023

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AMEA Division Events

2023 - 2024

Alabama Vocal Association EVENT

DATE September 8, 2023

LOCATION University of Montevallo

November 1-2, 2023 November 3, 2023

Christ Episcopal Church, Tuscaloosa Gadsden City High School

November 6, 2023 November 7, 2023 November 8-9, 2023

Spring Hill Baptist Church, Mobile Saint James School, Montgomery Mayfair Church of Christ, Huntsville

OCS/ME

District I: November 30 District II: November 14 District III: November 28 District IV: November 28 District V: November 27 District VI: November 16 District VII: November 28

Virtual Virtual Virtual Virtual Virtual Virtual Virtual

Solo & Ensemble

District I: March 20

University of North Alabama

District II: April 4-5 District III: March 13-15 District IV: February 16 District V: February 22-23 District VI: April 2 District VII: October 17 District VII: March 19

University of Alabama Hope Church Gardendale Jacksonville State University First Baptist Church Huntsville Tallassee High School Spring Hill Baptist Church, Mobile Spring Hill Baptist Church, Mobile

District I: March 20 District I: March 21

University of North Alabama First Baptist Church Decatur

District II: April 4-5

University of Alabama

District III: March 13-15 District IV: April 12 District V: March 6-7 District VI: April 2 District VII: March 19

Hope Church Gardendale Gadsden City High School Grissom High School Tallassee High School Spring Hill Baptist Church, Mobile

Fall Workshop All-State Auditions

State Choral Performance Assessment

Elementary/General Division August 26, 2023

East Alabama General Music Workshop

Auburn

October 27, 2023

Elementary Music Festival

Metropolitan Church of God, Birmingham

November 1-4, 2023

AOSA Professional Development National Conference

Albuquerque, New Mexico

January 18-20, 2024

AMEA Professional Development Conference

Von Braun Center, Huntsville

March 15-17, 2024

National OAKE Conference

Chicago, Illinois

AMEA Collegiate Division October 29, 2023

Collegiate Summit

Troy University

January 18-20, 2024

AMEA Professional Development Conference

Von Braun Center, Huntsville

Alabama Orchestra Association January 6-7, 2024

North All-Region Orchestra

Huntsville, Alabama

January 6-7 2024

South All-Region Orchestra

Greenville, Alabama

January 18-20, 2024

AMEA Professional Development Conference

Von Braun Center, Huntsville

February 8-11 2024

All-State Orchestra Festival

Tuscaloosa, Alabama

April 5, 2024

Orchestra Music Performance Assessment

Alabaster, Alabama

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Alabama Bandmasters Association DISTRICT

EVENT

LOCATION

DATE

Statewide

All State Jazz Recordings

http://www.alaband.org/

Oct. 31-Nov. 14, 2023

10/27/2023

AMEA Conference

Von Braun Center, Huntsville

January 18-20, 2024

1/6/2024

All-State Jazz Festival

Von Braun Center, Huntsville

January 18-20, 2024

12/5/2023

All State Solo Festival

Von Braun Center, Huntsville

April 24, 2024

3/1/2024

All State Festival

Von Braun Center, Huntsville

April 25-27, 2024

3/1/2024

District Fall Meeting

James Clemons High School, Madison

August 21, 2023

8/14/2024

All State/ District HB Auditions

Huntsville High School, Huntsville

January 26-27, 2024

12/22/2023

District Honor Band

Grissom High School, Huntsville

February 16-17, 2024

2/5/2024

MPA #1

Hartselle High School, Hartselle

February 27-29, 2024

2/6/2024

MPA #2

James Clemons High School, Madison

March 5-7, 2024

2/13/2024

Solo and Ensemble #1

Liberty Middle School, Madison

April 6th, 2024

3/16/2024

Solo and Ensemble #2

Priceville High School, Decatur

May 4th, 2024

4/13/2024

District Fall Meeting

Gadsden City High School, Gadsden

August 22, 2023

All State Auditions

Albertville High School, Albertville

January 27, 2024

District Honor Band

Albertville High School, Albertville

February 9 - 10, 2024

2/2/24

MPA

Gadsden City High School, Gadsden

February 27 - March 1, 2024

2/2/24

Solo and Ensemble

Boaz High School, Boaz

May 4, 2024

4/5/23

District Fall Meeting

Zoom Meeting

August 22, 2023

All State Auditions

Muscle Shoals High School, Muscle Shoals

January 27, 2024

District Honor Band

Russellville High School, Russellville

February 9-10, 2024

MPA

University of North Alabama, Florence

March 5-7, 2024

Solo and Ensemble

Muscle Shoals Middle School, Muscle Shoals

May 4, 2024

District Fall Meeting

Oak Mountain High School

September 11, 2023

All State Auditions

Hoover High School

January 27, 2024

District Honor Band

Oak Mountain High School

February 23 - 24, 2024

2/5/24

MPA #1

Oak Mountain High School

March 4 - 7, 2024

1/12/24

MPA #2

Thompson High School

March 11 - 13, 2024

1/12/24

Solo and Ensemble

Bumpus Middle School

May 4, 2024

4/12/24

District Spring Meeting

Oak Mountain High School

February 24, 2024

District Fall Meeting

Zoom Meeting

August 22, 2023

All State/District HB Auditions

Brookwood Middle School

January 27, 2024

District Honor Band

Moody Music Building (UA)

February 16-17, 2024

2/2/2024

MPA Solo and Ensemble #1 Solo and Ensemble #2 District Fall Meeting All State Auditions District Honor Band MPA Solo and Ensemble District Fall Meeting All State Auditions MPA District Honor Band Solo and Ensemble District Spring Meeting District Fall Meeting All State Auditions MPA District Honor Band District Spring Meeting Solo and Ensemble #1 Solo and Ensemble #2

Moody Music Building (UA) Marbury High School Brookwood High School Auburn HS Band Room Opelika HS Auburn JHS Auburn HS East Samford School Barton Academy TBA Baker High School Daphne High School TBA TBA TBA Coppinville Junior High School Enterprise Performing Arts Center Enterprise Performing Arts Center Enterprise High School W.S. Neal HS Houston Academy

March 5-8, 2024 April 11, 2024 April 13, 2024 August 12, 2023 January 27, 2024 February 16-17, 2024 February 27-29, 2024 April 20, 2024 August 21, 2024 January 27, 2024 March 4-8, 2024 March 14-15, 2024 May 4, 2024 May 20, 2024 August 21, 2023 January 27, 2024 March 5-7, 2024 March 8-9, 2024 March 8, 2024 May 4, 2024 May 11, 2024

2/13/24 3/22/24 3/22/24

District 1

REG. DEADLINE

Spring Meeting District 2

District 3

District 4

District 5

District 6

District 7

District 8

ala breve

12/22/2023

12/22/2023 2/2/24 2/12/2024 4/12/24 12/15/2023

12/15/2023

12/15/2023 2/5/24 2/8/24 4/5/24 12/22/2023 2/2/2023 2/16/2023 4/12/2024

12/22/2023 2/12/24 2/12/24 4/19/24 4/19/24

53

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AMEA Industry/Institutional Membership 2023-24 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!

American Travel Consulting P.O. Box 750, Albertville, AL 35950 Collins Hornworks 5256 Willow Way, Birmingham, AL 35242 Group Travel Network 5401 S. Kirkman Rd. Suite 530, Orlando, FL 32819 J.W. Pepper of Atlanta 9053 Riverside Parkway, Lithia Springs, GA 30122 Marchmaster 14 Lake Point Drive, Dahlonega, GA 30533 Sight Reading Factory 1321 Upland Drive, Suite 12621, Houston, TX 77043 Southern Performances 427 Appollo Avenue, Gulf Shores, AL 36542 Super Holiday Tours 116 Gatlin Avenue, Orlando, FL 32806 The University of Alabama School of Music 810 2nd Avenue, Tuscaloosa, AL 35487 The University of North Alabama UNA Box 5040, Florence, AL 35632 The University of South Alabama Department of Music 5751 USA Drive South, Mobile, AL 36688 Troy University John M. Long School of Music 112 Long Hall, Troy, AL 36082 54

August/September 2023

August_2023_AlaBreve_Layout 1 8/10/2023 12:44 PM Page 55

it's time

TO START A

Tri-M MUSIC

honor SOCIETY CHAPTER

Strengthen your school’s Music. Honor. And Society.

Starting a Tri-M ® Music Honor Society chapter will help show the value of your music program to the sc oo . i so n our s u n s o in them to: • • •

Build an impressive record for college Grow as leaders in music Serve their community

Ready to start a chapter?

Visit MusicHonors.com

®

MusicHonors.com

| 1-800-336-3768 | Tri-M@nafme.org

August_2023_AlaBreve_Layout 1 8/10/2023 12:44 PM Page 56

DAVID L. WALTERS DEPARTMENT OF MUSIC

Audition Dates FRIDAY, FEBRUARY 2, 2024 SATURDAY, FEBRUARY 3, 2024 FRIDAY, FEBRUARY 9, 2024 SATURDAY, FEBRUARY 10, 2024 The Jazz Ensemble I has achieved a Downbeat Award for Outstanding Performance. After winning the Third Section competition at the North American Brass Band Association Championships this past April in Huntsville, the JSU Brass Band has been selected to perform at the 2024 Alabama Music Educators Association Professional Development Conference. The JSU A Cappella Choir has also been selected to perform at AMEA in January and will debut at Spivey Hall in February for the Young People’s Concert Series at Clayton State University.

274 Mason Hall Music 700 Pelham Rd N ∙ Jacksonville, AL 36265 Phone: 256.782.5559 /JacksonvilleStateUniversity

Degree Programs in Music Bachelor of Arts in Music Master of Arts in Music ∙ Music Education with ∙ Vocal Music Education Instrumental or Vocal ∙ Vocal General Music Concentration ∙ Instrumental Music Education ∙ General Music with ∙ Instrumental General Music Instrumental or Vocal Minors Concentration ∙ Jazz Studies ∙ Performance with ∙ Music Instrumental, Jazz, Piano, ∙ Music Technology or Vocal Concentrations

FOR MORE INFORMATION ABOUT OUR SCHOLARSHIPS, SCAN THE QR CODE OR VISIT THE LINK BELOW!

JSU.EDU/MUSIC/SCHOLARSHIPS

August_2023_AlaBreve_Layout 1 8/7/2023 10:24 AM Page 55

University of Montevallo Department of Music 205-665-6670 montevallo.edu/music

@montevallomusic

@um_musicdepartment

Events For Middle & High School Students Sept. 28, 2023 Oct. 15, 2023 Nov. 4, 2023 Dec. 2, 2023 Jan. 29, 2024 Feb. 23-24, 2024 March 1-3, 2024

Festival of Voices Flute Day Single Reed Symposium All-State Band Clinic Choral Festival Day Middle School Honor Band High School Honor Band

On-campus auditions for scholarships Feb. 10, 2024 March 2, 2024

Honor Band participants only

March 9, 2024

Scan the QR code to learn more

Virtual auditions available upon request.

For more information, visit montevallo.edu/music/audition.

August_2023_AlaBreve_Layout 1 8/7/2023 10:24 AM Page 56

PRSRT STD US POSTAGE

PAID

Dothan, AL 36303

Permit No. 623

Montgomery 3030 East Blvd 334.271.2787

800-341-2787

Dothan

Birmingham

1001 Commons Dr #2 334.793.1284

4647-O Hwy 280S 205.995.8376

ArtsMusicShop.com