August/September 2025 Ala Breve by AL_AMEA

Ala Breve is published four times a year (August, October, February & May) by the Alabama Music Educators Association.

ADVERTISING & COPY DEADLINES

August/September

(Back to School issue): July 15

October/November (Conference issue): September 15

February/March (All-State issue:)

January 15

May/June (Summer issue:) April 15

Unless otherwise indicated, permission is granted to NAfME members to reprint articles for educational purposes. Opinions expressed in this publication are not necessarily those of AMEA or the Editor. All announcements & submissions are subject to editorial judgment/ revision. The Alabama Music Educators Association is a state affiliate of NAfME:

The National Association for Music Education is a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teachereducation institutions. Active NAfME/AMEA membership is open to all persons engaged in music teaching or other music education work.

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

AMEA Governing Board 2025-2026

Dr. Phil Wilson

President Ogletree Elementary School 737 Ogletree Road Auburn, AL 36830 (334) 538-9679 president@myamea.org

Keith Anderson President, Alabama Bandmasters Association

James Clemens High School 11306 County Line Road Madison, AL 35756 (256) 216-5313 ext 95111 kanderson@madisoncity.k12.al.us

Jason Jackson, President, ELEM/GEN

Daphne East Elementary 26651 County Road 13 Daphne, AL 36526 (205) 399-2879 elementaryamea@gmail.com

Joey Harbison Industry Representative Gadsden Music Company 607 Broad Street PO Box 132 Gadsden, AL 35901 205-910-2622 jmharbison@aol.com

Dr. Travis Bender President-Elect

Oak Mountain High School 5476 Caldwell Mill Road Birmingham, AL 35242 (205) 682-5267 president_elect@myamea.org

Amanda Slay President, Alabama Vocal Association Hoover High School 1000 Buccaneer Drive Hoover, AL 35244 (205) 439-1227 amanda.slay.ava@gmail.com

Stephen Foster President, HED Division Faulkner University 5345 Atlanta Hwy Montgomery, AL. 36104 (334) 386-7656 sfoster@faulkner.edu

JP Aufdemorte President, Alabama cNAfME collegiate_president@myamea.org

Dr. Russell (Rusty) Logan Executive Director 2020 Janabrooke Lane Auburn, AL 36830 (334) 663-1702 executive_director@myamea.org

David Raney Assistant Executive Director 25162 Hudson Bend Athens, AL 35613 (256) 651-8223

Dr. Rob Lyda Immediate Past President Cary Woods Elementary School 715 Sanders Street Auburn, AL 36830 334-663-0898 past_president@myamea.org

Heather Holmes

Recording Secretary Oak Mountain Middle School 5650 Cahaba Valley Rd Birmingham, AL 35242 205-682-5210 recording_secretary@myamea.org

Jordan Ford President, Alabama Orchestra Association

Thompson Middle School (205) 685-8100

jkirchner.1223@gmail.com

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

Pat Stegall Treasurer-Registrar AMEA Registration PO Box 3385 Muscle Shoals, AL 35662 (256) 627-4661 treasurer_registrar@myamea.org

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

Pat Stegall AMEA Registrar

From the Registrar

It is not too early to be thinking about our AMEA Conference in January, 2026. Just remember, you must join NAfME, and you should pre-register if possible. A healthy organization is always concerned with growth and development, and the AMEA board is interested in growing our organization, and for getting all music teachers in Alabama involved in professional development through AMEA and NAfME. You can help increase our membership by communicating the benefits of membership to our colleagues. When you are joining or renewing your membership, think of those music teachers in your area that may not be active members, and send them a message inviting them to join! You could send an email with their contact information to me at treasurer_ registrar@myamea.org and I will invite them!

Remember to: Remind your colleagues to join, include the new music teachers, invite the inactive music teachers and be involved as a mentor to the young music teachers.

Renew your membership now at www.nafme.org

Membership in NAfME is required for participation in state MEA sponsored events like the AMEA Conference, the Elementary Division Fall Conference, All-state and Musical Performance Assessments. Joining NAfME secures your membership in AMEA and in your division.

Register now for the 2026 AMEA conference online at www.myamea.org. You will find it is easy and will save you time and money. Reunite with friends and colleagues from all over the state in January. Rejuvenate your energy, renew your enthusiasm, and join us as we learn and grow together!

AMEA PRESIDENTS - PAST TO PRESENT

Tony Pike

Becky Rodgers

John Baker

Pat Stegall

Steve McLendon 2012 Sara Womack

Wilbur Hinton

Lacey Powell, Jr.

G. Truman Welch

Floyd C. McClure

Merilyn Jones

Ronald D. Hooten

Ken Williams

Dianne Johnson

James K. Simpson

Johnnie Vinson

Michael Meeks 2000 John McAphee, Jr.

Carl Hancock

Susan Smith

Greg Gumina

David Raney

Rob Lyda

Phil Wilson

AMEA PRESIDENT

During my travels as the Alabama State Teacher of the Year, I had the amazing opportunity to meet and form bonds with state Teachers of the Year (STOYs) from the other 49 states as well as some of our U.S. territories including Washington, D.C. We even met and became friends with international Teachers of the Year as we spent a week in Huntsville, Alabama learning about the American space program. Lifelong bonds were built during that year and a half, and after seeing the passion my STOYs possessed, my commitment to ensure every student an opportunity to a sound music education was solidified. That desire still exists today.

Of the many events I attended with my class, one particular event stands out. We called it the Washington Week of Recognition. During this week, we met at the Department of Education and began work on a document to transform the teaching profession, we were invited to several Smithsonian Museums to learn about

their museum to classroom initiatives and how we could incorporate them into our schools, we visited our state representatives and senators at the US Capitol, and we even got to meet with the President of the United States at the White House, as well as the Second Lady. While all these events were life changing and memorable, it was a speech that completely touched me. During a gala in D.C. honoring us all and our respective states, we were formally introduced to the National Teacher of the Year from our class, Michelle Shearer. Of course we had already spent many hours laughing, talking, and getting to know her brilliance, but the country had not yet been so privileged. Michelle is a Chemistry teacher in Maryland and was skilled at teaching AP Chemistry to students who are deaf. During her speech she told a story of how a typical first day of class goes for her. When the students enter, and introductions are made, she begins her Chemistry lessons. A kid stopped her and asked if they were really going to start learning on the first day, and she replied, “YES!” She continued to say, “We don’t have a moment to spare.” Looking out at the confusion and disappointment on the faces of her

Dr. Phil Wilson

students, she guided them through a math lesson of how one second wasted could be detrimental to their learning. I won’t take time to go through the entire lesson about time, but her gist was every moment we have with our students matter!

As I am reminded of her speech, I think of how every music educator I know has this same mentality. One moment lost is a missed opportunity. During the first days of school in my classroom, students will learn a song and will hopefully leave singing. Band camp is not a time to just meet and greet folks, you play an instrument on day one, because every moment matters! Choirs, orchestras, college courses, and every school music program all start their first days making some form of music because we understand that every moment matters and we must make each moment count.

As you enter your classroom or studio for the 25-26 school year, remember that every moment we have with our students must be meaningful and purposeful. The planning and preparation you do will matter. The music you select will matter.

The calendar of events and performances will matter. All of these things will matter because the students who will sit in our presence matter! Knowing what the world offers versus what we offer will compel us to work hard to ensure the best is getting the best. Know that I believe in you and the moments you will create for your students this year!

AMEA Governing Board Meeting

Your AMEA Governing Board met in early June to discuss plans for the upcoming year. I am pleased to share that AMEA is continuing to grow and making an impact in our state. Each division is planning new events while making previously established events run smoother and more meaningfully. Success stories were told concerning events that occurred in the spring and summer. While everything was not perfect, we discussed ways to resolve issues and move forward. Please take the time to read each article following this one to hear of the amazing moments you are creating in your districts, and across the state.

Communication is one issue we, as a board, and we as music educators need to consider working on. During my presidency of AMEA, we have worked to ensure the information going out to members is timely, precise, and meaningful because everyone is busy. We continue to discuss how to make our social media platforms a quick glance at AMEA happenings but always pointing back to our website (www.myamea. org), which is where the most updated, and more detailed information will reside. Through our once-a-month eNewsletter, we send reminders about upcoming events, NAfME news, and other items to keep you in the know. If you are like me, my email inboxes are full! We strive to only send pertinent information so that we do not take up too much of your time and space. If you are not receiving the monthly at-a-glance eNewsletter, please check your junk folder and reroute it to your inbox. Some of you have shared that your school district’s technology structure rejects our digital information. Please talk with them to alleviate the issues. If you have further ideas of how we can improve our communication, please feel free to share those with me.

you definitely do not want to miss their performance. For the very first time, we will host the elementary all-state honor choir at the conference which will round out every age group of students performing at the conference. Please take time to attend their concert and encourage them as we set the trajectory for them to matriculate through the music spectrum.

2026 AMEA Professional Development Conference Preview

The 2026 AMEA Professional Development Conference will be January 22-24, 2026, at the BJCC in Birmingham. Sessions and performances are being evaluated and will be presented to the membership soon. We are excited to host the Alabama Symphony Orchestra led by Maestro Carlos Izcaray. It has been several years since they have been with us, so

Also, I am excited to announce for the first time, we will have a digital music showcase during the conference. Dr. Shane Colquhoun is leading this venture to give students gifted in the art of creating digital music an opportunity to have their music showcased. I must admit this is an area I am not well versed, so I am excited to learn and celebrate our students with this showcase. More details to come. This year is also a voting year so be on the lookout for legislation and a slate of officers to be decided on. As always, continue to check the website for the most updated information.

NAfME National Assembly and Hill Day 2025

Each year, NAfME hosts a National Assembly where they bring in each

state music education association (MEA) president and other officers and staff to learn about NAfME and how they are working at the national level to strengthen music education. NAfME’s federal scope is like no other arts organization! I’ve had the great pleasure of attending in person for two years now and during the last two National Assemblies, NAfME President, Dr. Deb Confredo, wanted our time together to be a time of state MEAs talking, and NAfME listening and making changes to their structure. I am happy to say they did indeed listen and are making necessary changes to better support the states. Because each state MEA is not the same and their needs varies, NAfME is doing its’ best to listen and respond. Change is not instant, so be on the lookout soon for NAfME structure changes.

I was honored to attend national assembly with Dr. Travis Bender, AMEA President-elect, Dr. Rusty Logan, Executive Director, JP Aufdemorte, Collegiate President, Dr. Shane Colquhoun, Innovations Chair for NAfME, and Dr. Rob Lyda, Past President of AMEA.

As is tradition at National Assembly, AMEA participated in Hill Day and spent time on Capitol Hill meeting with our Alabama Senators and Representatives and/or their staffers. Our ask for the Alabama lawmakers was to support, and in many cases increase support for the Title I, II, and IV funds and other music centered programs in our schools. While the legislative ask is always the hardest part of the visit, this year something powerful happened.

This year we were able to meet with Representatives Shomari Figures, Gary Palmer, Terri Sewell, Barry Moore, and Senator Tommy Tuberville’s staffers. Although our meetings were scheduled to be with staffers we were honored with surprise visits with Representatives Figures and Moore. Rep. Moore’s wife was visiting and sat in on our meeting and discussed how important the arts, specifically music, were to her children growing up in the Enterprise school system and how the Representative needed to support our asks. I’m not sure if he will or not, but we left the office very optimistic.

In each office we entered, we were met with smiles and very polite workers. After pleasantries were exchanged, we asked where in Alabama the workers were from. When they told us we asked if they were involved in music and almost all of them enthusiastically said yes! We asked the names of their music teachers and low and behold they were friends and members of AMEA! We took pictures, talked about experiences with their music teachers, and even texted some of you to share success stories from YOUR students. We even sang a song or two. We also learned that many of our representatives participated in musical events while they were in school. This experience demonstrated to me the absolute power of music and how every moment you spent teaching the students we encountered in Washington DC still had a positive effect on them today.

Where Do We Go from Here

Every moment matters. Every exchange you have with a student matters. Every note a student performs, every lesson they learn,

every experience they have in music all matters. What you do starting in July when you are preparing to begin another school year will matter to the tens of thousands of students who will be eagerly awaiting to see you soon. I’ve seen it time and time again. From my little classroom in Auburn, Alabama, to the halls of the US Capital in Washington, DC, every moment matters. During this school year, as you do all the many things you must do, remember each one matters to someone and for different reasons. Kids may only want to come to school because they get to have a few moments with you because it matters. We go to school sickly, sometimes, because we know the moments we have with our students matter, and each moment must count.

We, the AMEA Governing Board, wish you well as you begin another new school year. As always, please let us know if we can be of service to you.

Phil R. Wilson, President

Opportunity Roars

Generous scholarships are available for all music majors and minors and Jaguar Marching Band members and are stackable with other USA academic awards. USA offers in-state tuition to all out-of-state students who receive merit scholarships at the time of admission.

Important Dates

Nov. 22, 2025 / Jaguar Marching Honor Band

Feb. 6-7, 2026 / USA Concert Honor Band

Apr. 4, 2026 / Drumline Auditions

Apr. 25, 2026 / Colorguard Auditions

2026 Audition Dates

Feb. 5-7, 2026 (Concert Honor Band Participants Only)

Saturday, Feb. 28, 2026

Saturday, Mar. 21, 2026

Saturday, Apr. 4, 2026

Degree Programs

BM in Music Education

BM in Performance

BM with elective studies in specific outside fields

MM in Music Education

MM in Performance

MM in Collaborative Keyboard

Music Minor

Welcome back to a new school year! Hopefully you had a chance to refresh and renew yourself this summer. Your new Elementary/General AMEA executive board met in July to get the ball rolling with plans for our conference in January and our Elementary All-State Choir. If you are new to teaching elementary or general music this year, welcome! Please send me an email at elementaryamea@gmail.com - your board and I would love to help you get plugged in.

Now for something motivational. Initially, I was going to write something about a mad scientist and relate that back to teaching music somehow, but instead decided to go with the Old English rhyme referenced in the title above.

Each new school year brings changes: some planned, some surprises, and often many that are completely out of our control. There’s no need to belabor the changes that are beyond our control, so let’s talk about a few things we can intentionally implement this year.

Something Old: Perhaps this is a lesson, activity, or song that you haven’t taught in awhile. Maybe it’s a teaching or management strategy that you used once and never tried it again. Or maybe you introduce your students to a piece

Jason Jackson, President Elementary/General Division

of music that made history somehow. Do you have an old autoharp tucked away in a closet? Dig it out and play around with it! (Just fyi, it’s going to be out of tune….)

Something New: Register your students for the Elementary All-State choir! Go to a workshop put on by one of the many amazing music teacher organizations in our state. Does your classroom management plan truly serve its intended purpose? Teach a song simply because it’s a fun one. Or maybe you have that bulletin board that needs a quick refresh. “New” doesn’t necessarily mean you have to add something to your plate. For example, pick a day of the week and set an alarm on your phone to remember to leave school at the end of your contract hours that day every week. Or stop checking your school email at home. Protect your time. You can’t pour from an empty cup!

Something Borrowed: Talk to other music teacher colleagues and see how they introduce quarter notes or what management strategies they use or how they program for their ensembles or what in the world they do with 5th and 6th graders. Our Facebook group is a great place for those discussions! Maybe it’s a book or piece of equipment you literally borrow from someone else. Ask the PE coach if you can borrow a few hula hoops or dodge balls for that one lesson. Maybe you borrow a song or idea from one source and your students put their own spin on it.

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Something Blue: How can you introduce literal color into your music classroom? Is there a collaboration unit with your art teacher or a project with that one class or grade level that just needs that extra “thing”? Maybe musical color could mean experimenting with songs in different tonalities. How often do we sing or play in minor? How about modes? Any atonal music ideas? Perhaps there’s a lesson idea somewhere that focuses on emotions and how they relate to the musicality of a certain piece your students are learning. Is all of our repertoire happy and sun-shiny or do students have opportunities to experience feeling despair, anger, disappointment, love, etc. in an artful way through music? And of course, there are always tons of songs that use 12-bar blues form!

I hope that you have a fantastic school year. Please do not hesitate to reach out to me or your board members if we can ever be of service to you.

`Announcements:

● Remember to renew your NAfME/AMEA membership. All memberships expire on June 30th each year. Make sure you are up to date so your students can participate in All-State! Click here to renew.

● Please remember to read your emails! We try to only send info you truly need so your inbox doesn’t explode. If you are not getting emails from elementaryamea@gmail.com, please update this contact form (click here) so we can add you. You may also need to add our address to your contacts. We get tons of undelivered emails every time we send something.

● We have an Elementary AMEA website! Click here to check it out! We will post info about All-State there in the coming months.

● We have new public socials! Add @ elementaryamea on Instagram and Facebook. We still have the private Facebook group for questions and discussions, as well.

● Elementary Executive Board Members (2025-2027):

President: Jason Jackson

President-Elect: Devin Lacy

Secretary: Jessi White

Treasurer: Katie Coe

Past President/All-State Director: Alicia Luttrell

Festival Director: Andrea Marsh

Hospitality Coordinator: Rachel Harbin

Social Media Representative: Brooke Gray

●Elementary District Chairs:

District 1: Lea Hoppe & Victoria Truesdail District 2: Karen Morgan

District 3: Trudye Confessore & Kris Lindley District 4: Lisa Gillespie & Miriam Richie District 5: Katie Manning

District 6: Erica Lutz

District 7: Kristen MacQueen

District 8: Christy Clark & Andrea Marsh

Aug. 23, 2025, 9:00-1:00 East AL General Music Workshop: Mandy W. Gunter Grace UMC, Auburn

Sep. 6, 2025, 9:00-3:00

Kodaly Workshop: Dr. Susan Brumfield Edgewood Elementary

Nov. 15, 2025, 9:00-1:00 Orff Workshop: Rob DelGaudio

Nov. 19-22, 2025

Jan. 22-24, 2026

Jan. 23, 2026

Mar. 5-8, 2026

Apr. 24-25, 2026

Spring 2026 (TBA)

Samford University

AOSA National Conference Lexington, KY

AMEA Conference

AMEA Elementary All-State Choir

BJCC & Sheraton Hotel

BJCC

OAKE National Conference Chicago, IL

ACDA Young Voices Festival University of Alabama

Kodaly Workshop: TBA

Spring 2026 (TBA) Orff Workshop: Dr. Erika Knapp

TBA

Samford University

It is wild that we have made it to the start of another school year. I hope Alabama music teachers have enjoyed well deserved rest. The Alabama Orchestra Association has an exciting year ahead, so please make sure you keep up with member emails, social media, and our website!

Jordan Ford, President Alabama Orchestra Association

New Executive Board Member

While we typically welcome new board members on even-numbered years, our dutiful treasurer, Tricia Marotz made the decision to move away from Alabama to be closer to her family. We are so grateful for her five years of membership to AOA and three years of being our treasurer. We wish her much luck on her new adventure. At our February General Membership meeting, AOA elected Rachel Sherrod to finish Tricia’s term as AOA treasurer. We are so excited to welcome her aboard our team.

President: Jordan Ford, Alabaster City Schools

Past-President: Joe Lee, Huntsville Youth Symphony

Vice-President/President-Elect: Keith LaBenne, Gadsden City High School

Treasurer: Rachel Sherrod, Etowah Youth Orchestra

Secretary: Rachel Christmas, Ramsay High School

2025 All-Region Orchestras

After rescheduling All-Region Orchestras due to winter weather, both North and South Region events went off without a hitch on May 24-25. The North Region Symphony Orchestra and the String Orchestra performed an excellent concert at Huntsville High School. Conducted by Dr. Christopher Lawhorne, symphony musicians performed Verdi’s Nabucco Overture, selections from Dvorak’s Symphony No. 8, and Warrior Legacy by Soon Hee Newbold. The String Orchestra, conducted by Laura Walters, played a wonderful program including works by Tchaikovsky, Robert W. Smith, and Deborah Baker Monday. South Region Symphony Orchestra and String Orchestra had their wonderful performance at Greenville High School. Justin White conducted the Symphony Orchestra in their performance of Overture in the Classical Style by Harnsberger, Collage Symphony arranged by Richard Meyer, and Highlights from WICKED arranged by Ted Ricketts. The string orchestra, conduced by Keith LaBenne, performed a fantastic program including works by Brian Balmages, Am’re Ford, and Jamin Hoffman. We are grateful for our performance venues, conductors, AOA volunteers, and students for allowing such a great event on an abnormal weekend!

Dr. Angela Ammerman, Featured AOA Clinician

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AMEA Conference

We are so excited to stay in Birmingham for the 2026 AMEA Conference. Angela Ammerman will be our featured AOA clinician. As many of you have seen from her instagram page, @musicteachersguide, Dr. Ammerman is a fabulous resource of music education and we can’t wait to see what she provides for music educators at this year’s conference. We also always look forward to our other sessions and spending much needed time with our fellow string educators from across the state. We look forward to seeing you there!

2026 All-State Orchestra Festival

AOA is looking forward to returning to Tuscaloosa for All-State Orchestra in February. We have a great lineup of clinicians for each ensemble.

Strings Audition materials have been posted on the AOA website. Woodwind, Brass, and Percussion materials will be posted when ABA audition materials are released.

Important Dates

Strings/Harp/Piano Audition Videos: DUE Oct. 17

Woodwind/Brass/Percussion Audition Videos: DUE Nov. 14

All-Region Orchestra Festivals: Jan. 10-11

All-State Orchestra: Feb. 12-15

OMPA: April 10

Please feel free to contact any of the Executive Board with any questions you may have. We are here to support the music educators of Alabama!

Respectfully,

Jordan Kirchner Ford AOA President

AOA South Region Symphony

AOA North Region Strings

AOA South Region Strings

AOA North Region Symphony

Moving Forward to New Heights

Ihope you have had a restful and enjoyable summer. I also hope that your fall is enjoyable and productive as you each begin a new year in your chosen field. At the immediate past AMEA Music Educator’s Conference, I asked those who attended the HED Luncheon to complete a brief survey and to ask their colleagues to complete it as well. I received some great feedback from the survey; however, I would like to hear from a greater number of our constituents. I asked questions concerning what you would like to see covered at the conference. I also asked members to suggest what new initiatives they would like to see the HED Division initiate. Perhaps the most important question was an open question asking members to make any other suggestions or recommendations that they felt would enhance our division’s service to our members. I would like to ask any of our Higher Education Division members who have not taken the survey to take a few

minutes and complete it. I intend to call an HED division zoom meeting in the near future to discuss the results of the survey and to discuss any actions that we would like to take to see improvements to our division. The QR code in this article will take you to the survey. It will record your email address when you submit your answers. I look forward to your responses and to working with you to serve you better.

I compel you to encourage your colleagues who are not members of AMEA and HED to become members. Our strength comes from the wealth and diversity of experience of

Stephen Foster, President Higher Education

our members. We each have our strengths that we can use to uplift our organization and the lasting impact that it can have on all the students of music in the state of Alabama.

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2026 AUDITION DATES

FRIDAY, FEBRUARY 6

SATURDAY, FEBRUARY 7

FRIDAY, FEBRUARY 13

SATURDAY, FEBRUARY 14

DEGREE PROGRAMS IN MUSIC

BACHELOR OF ARTS IN MUSIC

-Music Education with Instrumental or Vocal Concentration

-General Music with Instrumental or Vocal Concentration

-Performance with Instrumental, Vocal, Piano, or Jazz Concentration

-Music Industry

MASTER OF ARTS IN MUSIC

-Instrumental Music Education

-Instrumental General Music

MINORS -Music -Music Technology zz Studies

AMEA Industry/Institutional Membership 2025-2026

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!

Alabama Symphony Orchestra

3621 Sixth Street South, Birmingham, AL 35222 https://alabamasymphony.org

American Travel Consulting

https://www.americantravelconsulting.com

Arts Music Shop

3030 East Blvd, Montgomery, AL 36116 https://artsmusicshop.com

Auburn University Department of Music

132 Goodwin Music Building, Auburn, AL 36849 https://cla.auburn.edu/music/

Gadsden Music Company

607 Broad St., PO Box 132, Gadsden, AL 35901 https://gadsdenmusic.com/

Group Travel Network

5401 South Kirkman Road, Orlando, FL 32819 www.grouptravelnetwork.com

J.W. Pepper of Atlanta

9053 Riverside Parkway, Lithia Springs, GA 30122 https://www.jwpepper.com/

Marchmaster/Fruhauf

14 Lake Point Drive, Dahlonega, GA 30533 https://marchmaster.com/

Music & Arts

5295 Westview Drive, Suite 300, Frederick, MD 21703 https://musicarts.com/

Southern Performances

427 Apollo Avenue, Gulf Shores, AL 36542 https://southernperformances.com/

Super Holiday Tours

116 Gatlin Avenue, Orlando, FL 32806 https://superholiday.com/

The University of Alabama School of Music

810 2nd Avenue, Tuscaloosa, AL 35487 https://music.ua.edu/

Troy University John M. Long School of Music

112 Long Hall, Troy, AL 36082 https://www.troy.edu

The University of North Alabama

UNA Box 5040, Florence, AL 35632 https://www.una.edu/schoolofthearts

The University of South Alabama Department of Music

5751 USA Drive South, Mobile, AL 36688 https://www.southalabama.edu/colleges/music/

A,s the school year begins anew, my hope is that you all are stepping back into your classrooms and rehearsal spaces with fresh energy, renewed purpose, and passion for nurturing young voices. Whether you’re a veteran director or just beginning your journey in choral music education, the Alabama Vocal Association stands ready to support, guide, and inspire you throughout the year. The intention of the AVA organization is to be a vital partner in helping you and your students achieve success in this coming school year. As we look ahead to festivals, assessments, and All-State preparations, this is the perfect time to refocus our goals, build community, and elevate the choral experience for every student under our direction and care. Together, let’s make this school year the best one yet.

Summer Board Meeting

The AVA board gathered in June to plan our organization’s annual events. The details for those events can be found on the AVA website. The board also discussed in earnest the addition of a sight singing component to the All-State choir audition process. These discussions revealed that while the addition of a sight singing component is, at its worst, highly divisive it also has the potential to be a growth opportunity for our organization and for the students we serve as we seek to continue our commitment to the development of young musicians.

The governing board’s proposal for next steps to adding a sight singing component to the All-State audition process will be presented to the membership at Fall Workshop. However, the recommendation will include the implementation of a trial year in the Fall of 2026 in order to gather data in regards to the potential impact of a sight singing component. The results of the trial year will not impact students’ selection for the 2027 All-State choir. I look forward to presenting our

Amanda Slay, President

Alabama Vocal Association

proposal in full and working together to arrive at an implementation plan that reflects the mission of AVA and our core values as music educators.

All-State Choir Auditions

All-State Choir auditions will be held across the state October 30th through November 7th. You can find details about the dates and locations for each district by going to the AVA Website or contacting your District Chair. Schools are not required to audition in their assigned district. Directors may choose the site that works best for their school. The registration deadline for All-State auditions is Friday, September 26th. Plan ahead and register early to avoid late fees and support district chairs as they create the most efficient schedule for each audition site.

The new All-State audition process, implemented in the 20242025 school year, will continue this year with no changes. The audition process will be as follows:

● Each student will sing selected measures from 3 of the 6 assigned repertoire in addition to Alabama.

● The 3 auditioned songs will be selected by the festival clinicians.

● Every student will sing selected measures of Alabama.

● Students will not know which of the 3 songs will be selected until they enter the audition room. Consequently, students are required to learn ALL 6 selections prior to the audition.

Students may only audition for one All-State choir and must have original copies of all music and a completed adjudication form in order to audition. For more information about the standing rules and procedures of the All-State audition see the 2024-2026 AVA Handbook linked on the AVA Website

2026 All-State Festival (NEW LOCATION)

The 2026 All-State Choir Festival will be held March 1214, 2026 at Samford University. Samford University hosted the AVA All-State Choir Festival many times over the years and we are overjoyed to be back on their beautiful campus.

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The governing board conducted a site visit in June and are confident that the transition back to Samford is the right choice for our students and our organization. I’d like to express my deep thanks to the Dean of the School of the Arts, Dr. Lance Beaumont, and Dr. Joel Davis, Division of Music Chair, for their hospitality and support of our partnership. Additional details will be forthcoming about the 2026 All-State Choir Festival as it pertains to the change in location. Please make sure you are on the AVA mailing list so you don’t miss any important information.

The governing board reviewed and approved all repertoire selections for the 2026 All-State festival. This year’s clinicians have selected repertoire that is as poignant and profound as it is fun and challenging. For the first time in the history of the All-State festival the repertoire will include a commissioned work to be performed by the MS Treble Choir. The 2026 AllState clinicians are:

● MS Mixed: Dr. Josh Palkki

● MS Treble: Jessica Edelbrock

● HS TTBB: Gabrielle Pierle

● HS SSAA: Dr. Anthony Trecek-King

● HS SATB: Dr. Anton Armstrong

More information is available about the clinicians on the Alabama Vocal Association website.

Fall Workshop

Fall Workshop will take place on Friday, September 5th in Fairhope, AL at 3 Circle Church. I encourage everyone to attend Fall Workshop. It is an excellent way to connect and collaborate with the choir directors in our state, discover new teaching methods, and receive information about all the things going on in the Alabama Vocal Association. Attendees can expect to engage in repertoire roundtables, teacher led interest sessions, and district specific breakouts sessions. Dr. Jessica Napoles, Professor of Choral Music Education at the University of North Texas, will be our headlining clinician for the day. Dr. Napoles will present sessions on teacher burnout and classroom management in addition to a developmental choral reading session. Don’t miss this wonderful professional development and networking opportunity. Please see the AVA Website for more information about registration and lodging information. The pre-registration deadline for Fall Workshop is August 29th.

AVA Governing Board

The AVA board is diligently working to provide the best opportunities for teachers and students. Feel free to reach out if you see any area of our organization where you feel you can serve, or if you have any questions, concerns, or suggestions. We all look forward to hearing from you and serving you this year.

Amanda Slay, AVA President: amanda.slay.ava@gmail.com

Zachary Banks, AVA President-Elect: zachary.banks.ava@gmail.com

Hilen Wilson, AVA Vice President: hilen.wilson.ava@gmail.com

Kate DuPuis, AVA Recording Secretary: kate.dupuis.ava@gmail.com

Andrew Mills, District I Chair: andrew.mills.ava@gmail.com

Frank Andrews, District II Chair: frank.andrews.ava@gmail.com

Melissa Bonds, District III Chair: melissa.bonds.ava@gmail.com

Cara Thomas District III Co-Chair: cara.thomas.ava@gmail.com

Holly Luke, District IV Chair: holly.luke.ava@gmail.com

Debbie Flynn, District V Chair: debbie.flynn.ava@gmail.com

Traci Fuller, District VI Chair: traci.fuller.ava@gmail.com

Caylen Stewart, District VII Chair: caylen.stewart.ava@gmail.com

2025-2026 AVA Events

Please visit the AVA website: alabamavocalassociation.org to find the details for all events.

I hope you have a productive and smooth start to your school year. See you at Fall Workshop!

By now, we’re all back in the swing of things after an always-tooshort summer break. Whether it’s the first steps of the marching band show or the first steps of putting an instrument together, there’s an excitement about the start of a new year. And while the responsibilities that exist within the walls of our band rooms are numerous, I want to encourage you to go “beyond the band room” as an educator and leader in your school.

The band director in a school has valuable input in the areas of logistical planning, assessing student performance in class, classroom management, etc. When the opportunity arises, speak up and add your professional experience to the conversation. Too often, band directors feel “unseen” because we aren’t traditional content classroom teachers. However, sometimes we do that to ourselves when we sit in the back of the room and dismiss everything as “this doesn’t apply to me.” By adding our voices to the discussion, we are not only advocating for ourselves as educators but also advocating for our programs as an equal part of the curriculum and school culture. Speak up!

Turning to business, your ABA board has been busy preparing for the upcoming

school year. For this year’s summer work session, we met for a day and a half in Decatur, AL, on June 23-24. Executive Secretary Doug Farris provided a financial re port, and we continue to improve financially while we still recover from the Covid year of activities. President-Elect Gene Butler presented several recommendations from the Music Selection Committee, including additions to the MPA Cumulative List and Solofest Approved List, and edits to the 2026 All-State etudes and scale requirements.

Jazz Association President Kelvin Benion spoke highly of the Jazz MPA event and its growth in the second year. Plans are being finalized for the 2026 dates/locations, and expectations are for that event to continue to grow.

The Marching Committee, chaired by Nathan Haskew, submitted its final recommendations based on a year’s worth of work and surveys. The board adopted a set of marching rubrics to serve as a resource for marching bands and/or contests, to be used at their discretion as one tool to benefit the marching bands across our state. I would like to thank the committee for all their work on this project!

Other policy updates include allowing districts to reimburse band programs incurring the cost of a substitute when a district official has to miss school due to district responsibilities, increased honorarium for solo and ensemble judges, district chairmen, and vice chairmen, and the addition of an event coordinator to assist with the multitude of responsibilities when hosting our annual All-State Band festival in April. For our retired members, the board has adopted a policy allowing retired directors to attend All-State at no charge for registration.

On the next pag e you’ll find three legislation proposals to be voted on at the AMEA conference in January. Please read these carefully. I encourage you to be informed regarding the bylaws and board policies that pertain to your program, and please reach out to other directors in your district and encourage them in any way you can. The board continues to work diligently on behalf of the membership to help you and your students have the best possible band experience, so please don’t hesitate to reach out to a board member for assistance. Good luck to everyone on a great fall semester!

Keith

Proposal 25.3 Scales Memorization

Article XV, Section 2, b.

CURRENT: Directors will judg e students within their own district. The district Chairman will have the discretion to enlist other qualified judg es as needed. Where possible, directors should be assigned in teams and their scores averaged. This would relieve the problem of directors having to listen to their own students. This would also keep a player from playing for a judge who has not heard all of the other players of a given instrument. All-State Audition activities are subject to the approval of district members. Students will not be allowed to audition if their director is not present to help judge auditions. Exceptions may be granted by the District Chairman. A student will be allowed to tryout on only one instrument. A student auditioning for the High School Bands must correctly play a minimum of seven (7) major scales with their related arpeggios, and a student auditioning for the Middle School Band must cor rectly play five (5) major scales with their related arpeggios to advance to the Prepared Studies and Sight Reading portions of the All-State Band audition. No student will be selected for the All-State Band without having performed the entire audition. A score of “NA” is to be given in the event a student fails to attempt any or all of the prepared studies or the sight reading portion of the audition.

PROPOSAL: Directors will judg e students within their own district. The district Chairman will have the discretion to enlist other qualified judg es as needed. Where possible, directors should be assigned in teams and their scores averaged. This would relieve the problem of directors having to listen to their own students. This would also keep a player from playing for a judge who has not heard all of the other players of a given instrument. All-State Audition activities are subject to the approval of district members. Students will not be allowed to audition if their director is not present to help judge auditions. Exceptions may be granted by the District Chairman. A student will be allowed to tryout on only one instrument. A student auditioning for the High School Bands must correctly play a minimum of seven (7) major scales with their related arpeggios, and a student auditioning for the Middle School Band must cor rectly play five (5) major scales with their related arpeggios to advance to the Prepared Studies and Sight Reading portions of the All-State Band audition. All scales must be memorized. The use of scale sheets or fingering charts are not allowed in the audition room. No student will be selected

Proposed Legislation

for the All-State Band without having performed the entire audition. A score of “NA” is to be given in the event a student fails to attempt any or all of the prepared studies or the sight reading portion of the audition.

Proposal 25.4 Electronic Device Policy

Article XV, Section 2, b

Band must cor rectly play five (5) major scales with their related arpeggios to advance to the Prepared Studies and Sight Reading portions of the All-State Band audition. No student will be selected for the All-State Band without having performed the entire audition. A score of “NA” is to be given in the event a student fails to attempt any or all of the prepared studies or the sight reading portion of the audition. Students will not be permitted to use electronic devices in the audition room.

Proposal

25.5

Level 1 Band Programming Exemption

Article XVI, Section 3, a

CURRENT: A band may play a maximum of twenty-five (25) minutes perfor ming time

A program which consists of fewer than three selections must be at least twenty (20) minutes performing time. Any band which exceeds its allotted time will not be eligible to receive a “I” rating. A band playing a program of two (2) selections may request an extension of performing time, not to exceed ten (10) minutes. Requests for time extensions at ABA Music Performance Assessment must be received by the President for approval at least 20 days prior to the first day of the Assessment. No performing time extensions will be granted for programs consisting of three selections.”

PROPOSAL: A band may perfor m for a maximum of twenty-five (25) minutes of performing time. A program consisting of fewer than three selections must be at least twenty (20) minutes of performing time. Any band that exceeds its allotted time will not be eligible to receive a Division 1 (Superior) rating. A band performing a program of two selections may request an extension of performing time, not to exceed ten (10) minutes. Level I bands composed of middle and junior high school students with no 9th graders may request to perform only two selections, provided the total combined performance time is a minimum of four (4)minutes and one selection is from the Level I ABA Cumulative List. Requests for time extensions and Level I exemptions at ABA Music Performance Assessment must be submitted to the ABA President for approval no later than the third Friday in January. Performance time extensions will not be granted for programs consisting of three selections.

Greetings Music Friends!

Our year has begun and now that we are back in the swing of things it’s time to renew or start a new chapter of Tri-M! Did you know that Tri-M is a nationally recognized honor society specifically for musicians in grades 6-12? Our students deserve all the opportunities and recognition that Tri-M can help provide.

How to start a new chapter of Tri-M: https://www.musichonors.com

• You need a Chapter Advisor (music teacher)

• Complete and submit and activation form

• Pay the Yearly Membership Fee $100

Benefits of Tri M:

• Student Run Organization

• Gives Student Leadership Opportunities

• Helps Promote Music in the Community

• Give back to your Community through Music

• Looks Great on College Applications

Service Opportunities Idea:

• Food Drive for your local food bank

• Benefit Concert for Toys for Tots or Holiday Toy Drive

• Free Music Lessons and Master Classes for younger students

• Concert Ushers

• Holiday Caroling

• Live Music at School Events

• Talent Show for the Community to benefit a charity

• Playing/Singing at nursing homes and assisted living facilities

• Performing at Elementary Schools/ Instrument Petting Zoos at Elementary Schools

Being involved with Tri-M has helped me to teach the importance of community service through what we love, Music! I hope you will consider renewing or forming a new chapter of Tri-M at your school.

Best Wishes for a fabulous year!

Deanna Marshall AMEA Tri-M Chair

dfmarshall@auburnschools.org

Alabama Symphony Orchestra Education Concerts

From our youngest audience members to our most seasoned listeners, a ﬁeld trip is a great way to discover the Alabama Symphony Orchestra.

Registrations open August 4.

NEW Education Concert!

Treble in the Library

Perfect for grades 3-6

Be the ﬁrst to see Lexi the Librarian and her Junior Librarians discover that with the power of words and the magic of music, even the most cursed library can come back to life!

October 1 & 2, 2025 at 10am UAB’s Alys Stephens Center

October 30, 2025 at 9:30am and 11am Thompson High School Performing Arts Center

Tickets are $10 with 1 free chaperon ticket per 10 tickets sold. Additional chaperon/parent tickets are $10.

Middle & High School Field Trips

One hour versions of our classical concerts held on Fridays at 11am

Fate & Fury: Beethoven's Fifth - September 26, 2025

A Touch of Mozart, a Dash of Tchaikovsky - November 21, 2025

Epic Melodies: Tchaikovsky & Brahms - January 30, 2026

Echoes of a Nation - February 20, 2026

A Farewell to London - March 20, 2026

Heart of a New World - May 1, 2026

Dr. Meghan Merciers

cNAfME Advisor

This past month, I had the opportunity to attend the NAfME Collegiate Leadership Advocacy Summit. There, I learned about the importance of our community of music educators and the need for us to advocate for music education. For many of us, cNAfME is a club at our school that may host monthly meetings, bring in guest speakers, or organize social events. However, it has the potential to be so much more because it is our professional organization. The people we meet through our chapter or at conferences are our future colleagues in the profession. As we move through our careers, these are the people we will lean on in times of need and collaborate with when we need new ideas. Thus, it is essential that our individual chapters plan frequent events and that we, as individuals, attend events such as the Collegiate Summit or the AMEA Professional Development Conference to supplement our education. Chapters can also find ways to engage and serve the community, and looking for these opportunities will elevate individual chapters to new heights.

At the summit, I also learned of the importance of advocating for music education. We are choosing to pursue this profession because we have seen the profound impact that music can have on the lives of young people. For the next generation to get the best opportunities possible, we must fight for music to get the resources students deserve. One way to advocate is to use our stories and passion to inspire administrators and leaders in the community. Our voices could have a positive impact on the next generation.

JP Aufdemorte cNAfME President

In conclusion, let us seize every opportunity that comes our way as future music educators, starting with the upcoming AMEA Collegiate Summit. Titled “We Are…”, it’s set to take place on Sunday, September 21, 2025, at Auburn University, starting at 1 pm. The sessions will delve into the many roles we play as music educators, covering topics such as Music in the Community, Music Technology and Composition, Storytelling through Programming, and we will end with a panel discussion about Advocacy for Music Education. The day will culminate with dinner at 5 pm. We can’t wait to see you there! Don’t forget to follow us on Instagram @cnafme_al for updates leading up to the Summit, including our speakers, the final schedule, and registration details.

AMEA’s delegation at Hill Day: Dr. Shane Colquhoun, Innovations Chair for NAfME, Dr. Travis Bender, AMEA President-Elect, AMEA President Dr. Phil Wilson, JP Aufdemorte, Collegiate President, and Dr. Rob Lyda, Past President of AMEA.

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Teacher Profile

Sarah Schrader

with rhythm sticks. In high school, I lived for the Show Choir. I knew then that I wanted to teach music so I could instill my love of singing and playing instruments in the next generations.

Briefly tell us about your current position, how long you’ve been there, and a little about your schedule. I live in Foley and teach private violin lessons. I’ve been teaching private violin lessons for 21 years. I teach several students after school from 3:30 pm-5 pm and homeschool students on Friday during the school day. I teach group violin lessons on Saturdays once a month, and I typically have 4 studio concerts each year. Having this semi-flexible schedule also allows me to be a part-time math tutor at my children’s school.

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

I grew up in Hanceville, Alabama, where I studied violin starting at age 3 from Col. Charles Waid and later from Michael Korn. In high school, I was a member of the show choir. I attended Auburn University and received a degree in Vocal Music Education with a minor in Violin Performance. From there, I taught Elementary Music in Tuskegee for 7 years. I stepped down from that position when I had my first son, Jonah. This allowed me to stay home with him, and I could still keep my private violin students. When we moved to Foley in 2015, I restarted my violin studio here, and soon I had a thriving studio with excellent students! I now have 2 sons, Jonah and Carl, and an amazing husband, Gary, who supports me in my musical endeavors. Jonah is active in theater, and Carl is soaking in everything musical in his violin lessons from Ms. Daniela Pardo.

Why did you decide on a career in music education?

I LOVED singing and music as a kid and teenager. I had a fantastic music teacher at St. Paul’s Lutheran Elementary School in Cullman, AL, Mrs. Heinze, who taught us to sing, play recorders and tone chimes, and do lots of cool things

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

Col. Waid, Michael Korn for teaching me how to play the violin. Rhonda Cole, Lorna Wood, Dr. Lisa Caravan, Dr. Guy Harrison, Sylvia Mwila, and Ms. Daniela Pardo all string instrument instructors who have shown me how to teach, given me inspiration on new ways to teach, and helped me along the way to form and mold my violin teaching style. Hazel Heinze, Linda Aikin, Mary Jo Lakin, and Karen Hickok are general music teachers who instilled a love of music in me AND gave me countless ideas of how I wanted to teach and enjoy teaching music in schools. My college voice teacher, Mrs. April McDonald, gave me the tools I needed to become a classical vocalist and walked through college life with me.

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

When I was a kid playing the violin, our teacher, Col. Waid, had us do the coolest thing during a concert. We prepared both the first and second violin parts of the Bach Double 1st Mvt. at home, then during the concert, we drew a number out of a hat to indicate which part we would play at that moment by MEMORY. It was a huge challenge to be VERY proficient in both parts and not get them mixed up. Last year, I had 5 students who were ready to rise to this occasion. One was a senior, so we gave it a go in our concert. I joined in to make the parts even. I just happened to draw out of the hat, LEADER of the 1st violin part. I completely led them astray! We ended up playing an entire page in unison with the other part. (The cool thing about performing is that if you don’t show you made a mistake, the majority of the audience doesn’t know the difference.) The audience thought it was fantastic, but all the students (who followed me to the T) knew what happened, and I was very upset with myself.

Editor’s Note: Each Teacher Profile spotlights a music educator from across the full community of AMEA - new teachers, experienced teachers, retired teachers, and teachers from each of AMEA’s divisions. This issue features Sarah Schrader, string teacher in Foley, Alabama.

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

I’m very proud to have served on the AOA Board for 6 years as VP/President/Past President.

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

Sometime between the ages of 7-9, I hated to practice, so I threatened to break my violin EVERY day. My mother’s response was always, “Well, if you do, we’ll just buy you another one!” Thankfully, my parents supported me to keep me playing and never quit.

Are you involved in other music-related activities in addition to your teaching position? If so, please explain. Yes, I volunteer at my church as Adult and Children’s Choir director, play violin regularly for church services, and more recently volunteer to help out as music director of Mary Poppins Jr. at South Baldwin Community Theater. I also contract musicians and play violin for around 25 weddings and church services each year. Recently, I’ve had students interested in fiddle music. We compete in local competitions and last year traveled to Athens, Alabama for the Tennessee Valley Fiddlers Convention. Since the students are competing, I figured I should also compete, so I’ve been doing a deep dive into fiddle competitions and spending countless hours learning these amazing songs.

How do you spend your summer breaks?

I continue to teach during the summer, but only one day a week. We spend weeks at the BAY, Orange Beach bay house,

swimming, fishing, boating, and soaking in the sun. I take my sons around to many of the fantastic outdoor spaces in Baldwin County, and we take advantage of the local library programs. This summer, my son Jonah and I also spent 3 nights a week at South Baldwin Community Theater rehearsing Mary Poppins Jr.

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

I love to Quilt!

What do you love about being a music teacher?

I love getting to interact with my students and become part of their lives. I get to celebrate with students when they win fiddle competitions, get placed in top seats in their youth orchestras, or make it into the All-State Orchestra they were hoping for. On the flip side, I get to mourn and help them work through disappointment when they don’t get the spot they were hoping for. I enjoy playing with my students at churches and for weddings, and hearing about all their playing adventures, whether it be busking at Souvenir City and downtown Mobile, or playing for charity events. I also get to celebrate with them in their non-musical endeavors, like when they make the football team, or finish a mock trial for school, or get asked to speak in their church’s Christmas program. The relationships I get to build with students through music and interactions are priceless. It is amazing to see how the students grow to become amazing humans, living their lives to serve God and use their musical talents to do so! I’m blessed to be one small part of their earthly journey.

MUSIC

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WHY I WANT TO BE A MUSIC EDUCATOR

AND WHY EVERYONE SHOULD HAVE ACCESS TO MUSIC EDUCATION

By Thomas Washer

Editor’s Note: AMEA recently awarded the Eleanor Nation FAME Scholarship to Thomas Washer, a 2025 graduate of Helena High School. Scholarship recipients must have attended the FAME program and plan to major in music education at an Alabama university. Thomas plans to major in music education at Auburn University.

Iknew I wanted to become a music educator in eighth grade. That was the year I realized that when I thought about my future, nothing felt as fulfilling as teaching music. Since sixth grade, music has guided and shaped my life, but it was in eighth grade that I discovered my pur pose: to pass on my love of music to the next generation. Every other job I could imagine felt incomplete compared to music education. I wasn’t simply finding a future career when I picked music education. I was responding to a calling.

One of the most exciting parts of choosing this path is that I’ve already had real experiences with it. As drum major in my high school band, I’ve been given the opportunity to lead rehearsals and teach my peers. Whether it was running full ensemble rehearsals or helping someone one-on-one, the feeling of watching someone grow and improve, and knowing I helped make that happen, is one of the best feelings in the world. It’s addictive. And it’s something I want to experience every day for the rest of my life. Music has taught me so many life

lessons. It’s taught me self-discipline, consistency, and the importance of fundamentals. Learning an instrument is hard. It takes patience, focus, and the willingness to work on it every single day, even when you don’t feel like it. That mindset is something that I hope to teach to my future students. Greatness, in anything, starts with consistent effort and strong fundamentals. Music taught me that.

More than anything, music gave me a place to belong. Through music, I found a second family. Band gave me friendships, structure, and purpose. It helped me through tough times and made me feel like I mattered. The band room has always been my safe space and support system. I want to create that same environment for my own students one day. I want to give them what music g ave me: a place to be themselves, a reason to keep showing up, and a support system that truly sees them.

That’s why I want to be a music educator. But beyond that, it’s why I believe all students deserve access to music education.

Music education gives students

something they often don’t get in other classes. In a world where kids are constantly measured by GPAs and test scores, music class is one of the only places where students are allowed and encouraged to be creative, expressive, and emotional. It’s one of the few classrooms where making mistakes is seen as part of the process. In music, students aren’t seen as numbers. They’re seen as people.

Every student deserves that kind of space. Music education is collaborative, emotional, and personal. It teaches students life lessons such as teamwork, discipline, resilience, and leadership, all while giving students a chance to express their feelings. Music gives students a chance to develop confidence and tr ust in themselves,

improve and learn from their mistakes, and work with others to achieve a goal bigger than an individual. For many students, music is the reason they look forward to school. Music is so much more than a break from academics. It’s a lifeline.

“Being a music educator is about so much more than teaching notes and rhythms. It’s about building a great community through music.”

-Thomas Washer

That’s why music education must be available to all students, no matter where they’re from or what their background is. Music can change lives. I know that because it changed mine. It gave me everything. It gave me discipline. It gave me purpose. It gave me community. And it gave me

joy. And now I want to pass those same gifts down to the next generation.

Being a music educator is about so much more than teaching notes and rhythms. It’s about building a great community through music. It’s about giving students a place to be seen, heard, and valued not by their GPA, but by their character. My goal is not just to teach students how to play an instrument. My goal is to use music to help them g row into confident, creative, and resilient people. That’s what music education did for me, and that’s what I hope to do for others.

Music Is Elementary - coming soon

The 2025-2026 school year is upon us, and it is no secret that the start of a new year can bring challenges, doubts, and fears, but it can also bring excitement, positive change, and the opportunity for implementing new practices or rekindling old ones. As you read this you may be filled with an array of emotions and a laundry list of tasks that need to be completed right here at the beginning of the school year, but no doubt if you teach beginning band the young musicians you encounter will have similar feelings of excitement and trepidation, so you are not alone! However, you are the key! You are the one who can set the stage for a blissful beginning band experience for everyone involved.

“Whether this is your first or last group of beginning band students, it is their first note, their first song, their first concert. When your face lights up for them, they notice! Teach the kids sitting in front of you. Teach them how to be a band kid. See them, hear them, connect with them. It is such a privilege to guide a new musician on this journey.”

Leah Seng, Pizitz Middle School

As you already know, there are numerous teaching resources printed and online to aid the development and teaching of new band students, offering a large array of topics and educational views

and techniques. And, yes, conferences, clinics, and online professional development options all offer unique information beneficial to creating that blissful beginning band experience, however, the purpose of this article is to encourage each of you as you start this years’ beginning band journey and to offer tidbits of advice when you need it most– RIGHT NOW! Perhaps most importantly, the thoughts in this article are not mine alone and come directly from band directors who teach right here in Alabama and although you may immediately think they are not in your situation and haven’t been on your island the topics as you will see are easily transferrable to any situation.

Be consistent in everything that you do! It is important that students successfully create habits and procedures for the tasks you want them to complete and for the new skills and techniques they are learning. This applies to how students enter the room, put their instruments together, develop musical skills, and find their role in the band program. Be their guide as they develop these new skills, giving them reminders when they don’t meet expectations and encouragement when they do.

It is inevitable, time constraints, schedule interruptions, unexpected daily occurrences, and sometimes teachable moments will all get in the way of consistency. Let the chaos

Dr. Danielle Todd

happen, embrace it, then reinforce the expectations. The way you handle these situations themselves should be consistent to help students know what to expect when they occur. This will make each day this year be a more enjoyable experience for you and your students.

Consistency in your teaching is also important for success. Students should not enter your classroom guessing. They should have the comfort of knowing how things work and have some idea of how the day will go. An atmosphere without this breeds anxiety, leads to even more inconsistency, and often leads to classroom management issues that could have been avoided. Hold yourself accountable and self-evaluate to see if you are meeting your own expectations and the needs of your students.

“Play long tones every day to build tone quality, breath control, and consistency. Establish high expectations for behavior from day one and keep the pace moving to maintain engagement and momentum. Teach rhythm from the very beginning and make it a daily part of your routine—rhythmic understanding is foundational to musical success.”

Brandon Peters, Hewitt-Trussville Middle School

Listen to your students, parents, administration, colleagues, and yourself. Whether this is your first-year teaching or you are wrapping up a lucrative career, each year you have the pleasure of starting the journey for a new group of students, sharing music with them, and learning with them. And luckily, each new group of beginning band students offers us as teachers the opportunity to share our knowledge, explore new ideas, and learn from a new perspective, them. It is possible that techniques you have implemented for years or those you learned in your college courses do not work as you expected. That’s okay; let them go or file them away for future use. Try something different. Adapting can seem daunting and tiresome, but your approach determines the outcome. Change can keep things interesting for you and acceptance can lower your stress level and make teaching exciting for you as you work to meet the needs of your current students and program.

Similarly, changes in administration and policy can put a damper on the new year, but rather than letting the change dull your excitement, find a way to make it work in your situation and have fun teaching your students. Lean on your school colleagues for support and ideas. Sometimes the best ideas are right in front of you and may not be music related at all; they just need adapting to your situation.

Do not forget the parents. Listen to them when they give praises and when they seem to be offering nothing but complaints. For many parents, this is not just the first time their student has been in something like band, but it is their first time too. What may seem like an attack on you and your program may just be lack of understanding. Try to see things through their eyes and question how clear you were related to the topic at hand. Perhaps you have done this so much that you really did forget to share vital information with them. It happens. Apologize and move on. On the other hand, maybe they are a seasoned bander, and you do things differently. Listen to their thoughts and ideas. Doing so doesn’t mean you have to adopt them but giving them the space to share their own knowledge will help them find their place in your band program too.

Improve yourself beyond sanctioned or “typical” professional development opportunities. For example, Leah Seng at Pizitz Middle school advises that band directors “Get into other band rooms and watch good teachers.” She indicated that this has been the best professional development for improving her own teaching and says, “There are always things I can take away from observing a great teacher, even if their situation is different from my own.” Other directors recommended bringing experienced teachers into your own classroom to watch you teach as a form of professional development. They stated that this approach helped them learn and develop the most because it occurred in their own classrooms. While this advice might seem time-consuming and impossible, there are ways to make this happen. Explore the possibilities. Reach out to colleagues and have conversations with your administration. You never know until you ask. Do not forget about retired band directors and college professors. They are more likely to have available time and are often open to accepting invitations to visit classrooms to share their knowledge. However, if you can’t get someone to come to you and you can’t go to them, there are many podcasts that bring you right into the classrooms of great teachers. Find one and start listening.

“Parents want to know that the kids are happy. Administration wants to know that the kids are taken care of. Students want to play instruments, that’s why they are in band. For me, I want all of those things, but I also want to know that they are enjoying band.”

David Caddell, Echols Middle School

Furthermore, there are many ways to improve yourself as a teacher that can occur in your classroom without the aid of others. For instance, simply picking up an instrument and playing with the class will refresh your knowledge and lead to better understanding and teaching. Rereading those long-forgotten textbooks are an overlooked option as well. As you gain experience, perspective changes and you will look at things differently or you will relearn something you forgot. Simply reading about teaching can spark an idea that makes a huge difference in the classroom.

Do not forget about publications. Researchers have the time to explore and write about topics new and old. Reading them can spark ideas, provide a better understanding of a specific topic, and keep you up to date regarding new techniques in the profession.

“Commit to being a lifelong learner of instrument pedagogy. The foundation established during a student’s first year of playing is critical to the long-term success of a beginning band program, and of the overall band program. Continuously developing your pedagogical skills through professional development opportunities, educational clinics, podcasts, online resources, and meaningful conversations with colleagues is essential to continued growth as a teacher. A strong command of individual instrument instruction fosters characteristic habits, sound fundamentals, and essential skills that students will carry with them throughout their musical education.”

Micheal Chambless, Thompson Middle School

Students’ experience things differently. Beginning band students will experience band in a variety of ways, let them! Some students will practice every minute. Some students may never know where their instrument is. Some students will find their place and become a lifelong musician, and some students will only be with you for a year. But, most importantly every student will be better for being a part of your beginning band program. Meet them where they are and prepare them to go further than they anticipate.

“The band members are there because they want to learn how to play an instrument. Play, buzz, count, tap, clap, as much as you can. There are times when you have to speak and explain things, but the more you keep the kids active with playing, the better.”

Daniel Seay, Muscle Shoals Middle School

The same applies to learning. Students learn differently and while there are a variety of ways to teach concepts, many

band directors I surveyed highlighted the importance and succuss of modeling for students. Brandon Peters (HewittTrussville Middle School) explained that teachers should “Model on every instrument you teach. Beginning band students need to see correct posture and hand position and hear characteristic tone quality from the very start. Demonstrating these fundamentals yourself—consistently and confidently— sets clear expectations and gives students a target to aim for. Whether you’re a new or seasoned teacher, modeling is one of the most effective ways to build strong habits early.” Keep in mind that modeling not only helps students, but it will help you as a teacher. When a student is having an issue that you are struggling to address, sometimes playing the passage yourself or mimicking what the student is doing yourself helps lead to a solution. As Saul Cortez (Irondale Middle School) expressed, “For a majority of students, this is their first time undergoing a multiskill learning process. Take time to break down the skills yourself with them on a non-native instrument.” It may feel uncomfortable, but you and the student will benefit and just like your students, the more you do it, the easier it gets. If it has been a while since you have modeled instruments for your students, start with the one you are most familiar with and gradually add others. Create low stake opportunities for yourself. For instance, rather than modeling immediately on an instrument, sit in the ensemble and play with the students on the instrument until you feel comfortable. And, as we tell our students, practice the instrument outside of class before you model for them to ensure success.

Success is a goal that begins on day 1! “Be thorough! Everything you teach students about how to play and how to do band in the beginning, will set them up for success or failure in the long run.” (Corinth Lewis, Hewitt-Trussville Middle School).

Remember that just as students’ experiences and ways of learning varies, their levels of progress and the time it takes to accomplish goals does too. Help students understand that success can look different for each of them. It can be difficult for students to grasp this concept, but constant reinforcement and celebration of accomplishments will help. The same is true for you as the teacher. Your situation is unique regarding goals, challenges, and support systems. What looks like success to you may be different than the program down the street. Michael Chambless (Thompson Middle School) shared, “The phrase ‘comparison is the thief of joy’ is applicable in context of beginning band instruction. Early in my teaching career, I often found myself comparing both my teaching and my program’s progress to those of more established, successful programs. This tendency led to feelings of frustration when I perceived that we were not meeting the same benchmarks or advancing at the same pace as others. Over time, I came to understand that each student, teacher, and program follows a unique path of growth, and that success can take many forms. Embracing this perspective has allowed me to focus more intentionally on the individual progress of my students and the distinct strengths of my program, school, and community.”

Conclusion

Beginning band at any age level is my absolute favorite to teach, which is why I chose to focus on the topic for this article. But just as every new group of students is not the same, neither is every bandroom, school system, or teacher. Therefore, find what works for you and your students and embrace the uncertainty that comes with learning and trying new things with your students. You do not have to know all the answers and no one decision is detrimental. Try something, if it works – GREAT – if not, tomorrow is another opportunity to

try again! Explore, experiment, and do not give up! Good luck on your journey to beginning band bliss!

For this article, a survey was administered to selected band directors based on my own knowledge of their programs and classroom teaching. They were asked to answer a two-question open-ended survey. The questions were:

1. What is the most important piece of advice you would give band directors starting their new group of beginning band students this fall? Advice can be directed toward seasoned teachers or new teachers.

2. If you would like to include additional advice or comments include those below.

Note: Direct quotes were selected to include in this publication, however, the article was based on all information received and does not include quotes from all participants.

Thank you to everyone who contributed!

Dr.

Danielle Todd currently serves as Clinical Assistant Professor of Music Education at The University of Alabama. She has taught instrumental music education for over 20 years at the middle school, high school, and college levels and is an active clinician, conductor, and researcher. Her research interests include professional development, teacher mobility, teacher preparation, and situational awareness in the music rehearsal setting. Dr. Todd holds a PhD in Music Education, a Master of Arts in Instructional Leadership, and a Bachelor of Science Degree in Music Education from The University of Alabama.

Programming Lyrical Works for Developing Bands

DeShun J. Iverson

Loud, fast, energetic, aggressive – this is the music that excites young band students! Often, the students’ enthusiasm to play this kind of music is what motivates us (teachers) to program it. Considering that every ensemble’s needs and strengths are different, programming for any ensemble can be both exciting and challenging. Picking music that your students will like and that you like is a very valid means to selecting literature. Playing that roller coaster pop tune where the low brass finally gets the melody is just like eating a slice of that three layered chocolate cake that you’ve been waiting to get home to… “I’ll have just one piece,” you thought… which turns into two, and eventually there’s none left.

As instrumental music teachers, we are fortunate to be able to design the curriculum for our ensembles. This comes with great responsibility, challenge, and inquiry. We are charged with answering the question, “What

should they be able to do?” as opposed to having other experts make the instructional decisions for us. It’s a superpower of our discipline! We all know that the upbeat, catchy song with the repeated ostinato will get played during every warm-up for the rest of a student’s middle school years. This same excitement can be fostered by appropriately selecting lyrical literature, stressing its importance to students, and drawing connections to it – music is more than notes on a page or words in a song.

Here are some misconceptions that I’ve found about selecting lyrical works for young band:

1. “It’s slow. It will be boring.” Maybe… but it’s about how well you sell it!

2. “There are just half and whole notes – it’s too easy.” Looks can be deceiving!

3. “Young kids don’t know how to

appreciate pretty songs.” Sure they do; it’s about exposure!

4. “It doesn’t focus on technique.” Technique is more than fast fingers and crazy scalar runs.

5. “Good intonation is hard for young ensembles.” Playing in tune is achievable at all levels.

6. “Younger students don’t connect as well with their emotions.” They are the MOST emotional beings!

While I believe that there is merit to each of these ideas, we know that our students’ musicianship benefits from playing music in a variety of styles. Here’s a take at addressing each of these ideas to encourage your programming goals.

“It’s slow. It will be boring.” Do you remember when you recruited the students to be in the band? “Band will be your favorite class of the day! You

will love playing your instrument and making friends,” you said [and for all our sakes, I hope that this is true]! And you said it with so much enthusiasm that the students believed you. And because you make band class such a fun place to be each day, the students’ excitement has recruited other students… “I love band! Band is fun.” You’ve promoted its significance and the good that it can do for students, and now they believe that it is their idea. Congratulations; you’ve made a sale! You’ve now sold the idea that band is fun… AND IT IS! Your words and influence have immense power – use this to your advantage when teaching that “slow” tune. It’s important for the students to believe that the lyrical selection on your program is the most important song… the most beautiful song… and the song that will speak to the most people in your audience. Just like you’ve swayed the students to believe in the power of band, you’ve got to sell this selection in the same way… make them believe that it’s their favorite piece. Be creative – young students are full of life, stories, drama, gossip, etc. Make the song about a story and relate it to their life! The buy-in and attentiveness that you receive will be a game-changer. It can be much more than just the “slow” and “boring” song… it can be meaningful if you make it that way.

“There are just half and whole notes – it’s too easy.” I understand this thought process completely. We want our students to be challenged, so it makes sense to select literature that will give them just that. On the surface level, if music looks simple, we don’t think that it will interest the students, let alone provide them with any musical challenge. Don’t be deceived by how easy a lyrical selection for young bands might look. Many educational composers have scored works to meet appropriate range, textural, and musical demands for developing groups. If the rhythmic integrity of the work is attainable for the ensemble from the first few reads, that’s great! You have done a wonderful job teaching and reinforcing general rhythmic understanding. Now

you will have the opportunity to teach students about musical sentences (phrasing), the relationship between melody, harmony, and accompaniment (SATB orchestration), and sense of line. Trust, David Holsinger’s A Childhood Hymn is a gorgeous and intuitive work – and it requires lots of effort and fundamental ensemble skills to make it sound beautiful!

“Young kids don’t know how to appreciate pretty songs.” Exposure is the key here. Yes, our younger students are full of energy – they naturally gravitate towards fast, lively, and upbeat. They won’t willingly listen to music that differs from the styles that they like. This is where the music teacher comes in! As you teach them

to be active listeners and consumers of “good music,” play songs for them – and it doesn’t have to just be band music. A lot of current school-aged children are unfamiliar with jazz, reggae, R&B, classical lyrical, ballads, etc. Transition to the next class would be a great time to have calming music playing lightly in the background. Sharing a ‘Have You Heard?’ in your weekly newsletter may get noticed. The goal of exposure is to cast a wide net. You won’t reach every student, but you will slowly start to spark interest. Variety is the spice of life.

“Lyrical songs don’t focus on technique.” To me, technique [in this scenario] is more than the facility of the instrument – it’s maturity, physical

and mental stamina, focus, awareness, etc. Younger students are more than capable of demonstrating each of these [and more] if it is required of them. Working fundamentals at slower tempi is more telling of our ensemble’s strengths and weaknesses than at faster tempi. Is each individual player sustaining pitch for the full duration of a long note, or does it waver? Does the group take a full breath together? At the same time? And start or end notes in the same way? Does the flute instrument carriage falter when they have to play four tied whole notes? What does trombone posture look like during their seventeen measures of rest? Does section tone blend from side to side and front to back? These are just a few things to focus on that create better musicians and ensembles. Playing at slower tempi also allows us to address finger placement on wind instruments, resonant points of contact on percussion instruments, smooth note transitions, careful counting skills, starting and ending notes at the right time, control of releases, etc. These skills are transferable to all of your literature! The more time we spend honing all of the “technique” at lower speeds, the easier it becomes to apply when the train takes off! Slow and steady wins the race.

“Good intonation is hard for young ensembles.” Intonation is vital to the

Suggested Listening

success of any quality ensemble. The earlier that we teach and work on tuning with students, the better they will be at it. Tone development and ensemble intonation are works in progress, especially with younger musicians. Fortunately, many composers score their lyrical selections for younger groups with limited range demands. This allows us to focus on applying our daily fundamentals to the literature (on a smaller scale) as opposed to using the music to build fundamentals or “stretch our groups.”

“Younger students don’t connect as well with their emotions.” There is not a more passionate person than a pre-teen or teenager. They are the most emotional beings! Most especially in middle school, their bodies are beginning to change, everyone’s opinions matter to them, they are ready to solve the world’s crises – the list goes on. More importantly, this is the time of life where self-consciousness takes precedence. As the students begin to make deeper connections in their young lives, it’s important for us to take part in the process with them. The meaning behind lots of lyrical compositions allows us to be expressive, immerse ourselves in the music making process, and convey emotions. If young students feel an emotional connection to the music that they play, their engagement and investment will be prominent.

• A Childhood Hymn, David Holsinger

• A Song for Peace, Christina Huss

• As Tears Fall on Dawn’s New Light, Richard Saucedo

• As Twilight Falls, Robert Sheldon

• Be Still My Soul, Robert W. Smith

• Black is the Color, Robert Sheldon

• The Bonsai Tree, Julie Giroux

• By Dawn’s Early Light, David Shaffer

• Daydreams, Rob Romeyn

• Maesong, Williams Owens

• Moscow, 1941, Brian Balmages

There is so much great literature that will grow your students as musicians and you as a teacher! Below is a nonexhaustive list of some of my favorite lyrical works for younger groups. Give them a listen!

Young bands can make beautiful lyrical sounds! The fundamental care needed to achieve it must be addressed daily. Program strategically, layer the needed skills, emphasize the importance, take the risk, expose them to it, and… EXPRESS YOURSELF!

De’Shun J. Iverson serves as Director of Bands at Smiths Station Junior High School in Smiths Station, AL. His primary responsibilities include co-teaching beginner and intermediate level band and exploratory music classes, and overseeing the junior high school band program. Iverson holds degrees in music education from Troy University. He is an active member of NAfME, the Alabama Music Educators Association, and the Alabama Bandmasters Association.

• The Red Balloon, Anne McGinty

• The Rowan Tree, Randall Standridge

• Rippling Watercolors, Brian Balmages

• There Will Come Soft Rain, Robert Sheldon

• Salvation is Created, Pavel Chesnokov (arr. Brown)

• Song Without Words, Gustav Holst (arr. Story)

• Spring, Randall Standridge

• The Water is Wide, James Swearingen

• Where Words End, Randall Standridge

• Ye Banks & Braes O’ Bonnie Doon, Percy Grainger (arr. Sweeney)

Where Do I Even Start?

Technology continues to evolve at a rapid pace. When the internet was first introduced, many dismissed it as an interesting “fad du jour.” Today, the internet plays an essential role in nearly every aspect of our daily lives. Similarly, artificial intelligence (AI) is not a fad or gimmick, but a transformative technology that is already influencing how we live, work, and learn. The potential for AI technology to continue this “transformation” appears to be almost unlimited. As music educators, it is crucial that we proactively embrace AI and find ways to integrate this technology into our music classrooms.

Many of us are familiar with the SAMR Model by Dr. Ruben Puentedura. The SAMR Model categorizes technology integration in four levels: Substitution, Augmentation, Modification, and Redefinition. Substitution involves a direct substitution for an assignment or activity. Augmentation also involves a direct substitution plus includes functional improvement for an assignment or activity. Modification involves technology significantly redesigning an assignment or activity. Redefinition involves technology completely redesigning an assignment or activity that was previously inconceivable. Substitution and Augmentation fit into the Enhancement category. Modification and Redefinition fit into the Transformation category.

According to this model, all educators fit into one of these levels when new technology is introduced. Educators need to see the above model and understand that it takes time to integrate new technology into the classroom. It is a stepby-step process where you move from one level to the next. Progressing from basic substitution to full redefinition does not happen overnight. The bottom line: time and patience are required to integrate new technology, including AI, into our music classrooms successfully.

So you are probably asking yourself, Where do I even start with AI? You start right where you are. The key is to begin where you are, embrace the learning curve, and move forward at a pace that works for you and your students.

ChatGPT

ChatGPT defines itself as a computer program that can talk with people, answer questions, help with writing, help with learning, and help with problem-solving. In education, ChatGPT is a digital tool that can be utilized to support learning. In ChatGPT, I typed the question, “How can ChatGPT be used by music educators?” It gave these seven categories plus subcategory information: 1. Lesson Planning and Curriculum Design, 2. Teaching Support and Student Engagement, 3. Composition

and Creativity Tools, 4. Technology and Software Integration, 5. Music History and Appreciation, 6. Communication and Administration, and 7. Professional Development. If you type this question into ChatGPT, you will see the subcategory information.

In our band room, we have begun exploring how to utilize ChatGPT. As we built our marching band show for the upcoming Fall, we looked up songs about fire. Although we did not choose any song from ChatGPT’s suggestions, ChatGPT helped us to solidify the title of the show. This school year, we are starting a Modern Band/Pop Band. We have already utilized ChatGPT to help us design the course. We do not solely go with the ideas suggested by ChatGPT, but it is a great suggestion board in our planning process. Although these suggestions are specific to the band classroom, there is applicational use for ChatGPT across all music classrooms. ChatGPT or other similar platforms can be utilized to make worksheets for classroom usage. This is a huge time saver for the always busy music educator.

Games

In the music classroom, ToneGym is a powerful and engaging AI platform that turns ear training into a game. Students can play interactive challenges like Interval

Dr. Gene Butler

Barks, where they identify intervals based on sound. They can also play Chordelius, which helps them recognize chords. This platform adapts to their skill level using AI, making it feel like a video game while reinforcing core musical skills. ToneGym can be utilized as a warm-up or station activity during music theory lessons. Chrome Music Lab offers a suite of visual and interactive music experiments that are ideal for younger students or beginners. In the Rhythm game, students create patterns with animated characters playing percussion instruments. This helps them internalize beat and syncopation in a playful way. The Song Maker tool allows students to compose simple melodies and harmonies by placing colored blocks on a grid. This is a great way of introducing form, pitch, and rhythm. While not powered by advanced AI, its intuitive feedback and creative freedom engage students like a game. For instrumental and vocal students, Yousician offers lessons with real-time feedback on pitch, rhythm, and timing. As students sing or play their instruments, the app listens and scores their accuracy using AI analysis. The program then adjusts difficulty and offers corrections. This turns practice into an interactive challenge. This makes it an ideal independent practice tool, especially in band or choir programs, where students need structured feedback outside of rehearsal. Melodics is another rhythmfocused AI program that functions like a video game for drummers, keyboardists, and electronic musicians. Students tap along with loops and tracks and receive instant feedback on timing and accuracy. The adaptive difficulty keeps students challenged while reinforcing precision. This is a valuable tool for exploring rhythm.

Ear Training

AI ear training tools are becoming increasingly useful in music classrooms. They offer adaptive and engaging ways for students to develop listening skills. One of the most popular is ToneGym, which was discussed above. Another robust AI tool is Auralia by Rising Software. Auralia is often utilized in middle school through college-level music programs. Auralia tracks each student’s progress over time and suggests areas for improvement

based on accuracy and response time. It has a wide range of exercises, including melodic dictation, chord progressions, and rhythmic transcription. This makes it ideal for both ensemble directors and AP Music Theory educators. Similarly, EarMaster provides a classroom-ready environment for training students in pitch, harmony, rhythm, and melody. With features like microphone or MIDI input and teacher dashboards, EarMaster works well for both group instruction and lab-style individual practice. For rhythm-focused instruction, Melodics is an excellent option. Designed for utilization with electronic drums, MIDI pads, and keyboards. This software analyzes timing accuracy in real time and adapts exercises to help students improve. It is especially valuable for percussionists or students needing rhythmic reinforcement. For vocalists, SingTrue is a free iOS app that offers real-time pitch tracking and adaptive vocal exercises. It is a great companion for choir students working on tuning and interval recognition outside of rehearsal.

Song Composition

AI song composition tools make music creation more accessible and engaging for students at all levels. Soundtrap for Education is a cloud-based program that allows students to record, arrange, and collaborate on original songs. It includes AI features like beat matching and loop suggestions. This makes it ideal for group songwriting or scoring projects. Chrome Music Lab’s Song Maker offers a simple interface where students can compose melodies and rhythms without needing notation skills. It is great for younger students or as an introduction to musical form and structure. Boomy lets students create full songs in various styles using AI. With just a few clicks, they can generate backing tracks. The backing tracks can be customized by changing instrumentation or song structure. Boomy is ideal for exploring genres and arranging. MusicFX by Google DeepMind is an advanced AI tool that generates short musical clips based on prompts. It is useful for quick inspiration, form analysis, or short composition starters in class. Suno AI allows students to input a short description or theme and receive a fully generated song, complete with lyrics, melody, and

instrumentation. It is especially powerful for demo projects or exploring how lyrics and mood affect musical decisions. In the music classroom, these AI programs can be utilized to create songs. After the creation of the songs, the class can analyze the form and structure. This is composition writing in reverse, which can help us reach the next generation of composers.

The above entry points are offered as suggestions as you begin or continue to integrate AI into your music classroom. These are just the initial steps on the path toward deeper instructional transformation. The most important part is simply to start and then to share your experiences along the way. Collaboration and shared learning are powerful tools for growth. As we explore this evolving technology together, we empower both ourselves and our students. Wishing you success on your AI journey!

Dr. Gene Butler, Director of Bands at Smiths Station High School, has dedicated nearly 20 years to music education, driven by gratitude for the communities that shaped him. A two-time Troy University graduate and former drum major, he also holds an Ed.D. from Columbus State University. He previously expanded the band program at Trinity Presbyterian School and earned top honors for his ensembles. Currently, he serves as Director of Bands at his alma mater, Smiths Station High School. Recognized as Alabama’s Outstanding Young Music Educator in 2015, he was named 2025 Teacher of the Year for both his school and district. A Yamaha 2024 “40 Under 40” honoree, he actively contributes to Alabama’s band community as a leader, clinician, and adjudicator. Dr. Butler currently serves as the Alabama Bandmasters Association President-Elect.

In Memoriam Congratulations to AMEA members Josh Wine, and Drew Mills for making it to the

“Sweet 16” of the Alabama Teacher of the Year Program.

Andrew Mills, school board district VII Teacher of the Year and the choral director at Florence Middle School in Florence.

Josh Wine, school board district II Teacher of the Year and the band director at Auburn Jr. High School in Auburn.

Mr. David Alan Bolich, beloved husband, father, brother, and teacher, passed away peacefully Wednesday, June 4, 2025, with his wife and son by his side. He was 72.

Drew Mills and Josh Wine with AMEA President and former Alabama Teacher of the Year Dr. Phil Wilson

David was born in Stuttgart, Germany to the late Warren and June Bolich. He was proud to be a graduate of Auburn University and receive his Master’s Degree from Troy State University. David dedicated his life to education and music, serving as an award-winning high school band director for over thirty years. Through his passion, discipline, and deep commitment to his students, he shaped the lives of thousands of young musicians, leaving a legacy that will echo for generations. Known for his uncompromising standards and a passion for mentoring young directors, David built a wide network of fellow band directors across the state — colleagues who deeply respected him and whom he, in turn, greatly admired. It cannot be overstated how much every student and colleague meant to him. In retirement he found himself volunteering his time assisting in band rooms across the southeast and enjoyed woodworking as a hobby. In addition to his parents, he was preceded in death by his brother-in-law, Robert Wells.

David is survived by his devoted wife, Tami Clapham Bolich of Ozark; his son and daughter-in-law, Alan and Dariana Bolich of Birmingham; and his sisters, Claudia Wells of Smyrna, Georgia and Jan and Rodney Senn of Dothan. His loss is deeply felt by his family, friends, former students, and the music education community he helped to grow and inspire.

Ihope everyone had a restful summer and a great start to the new year. I hope you all have found pieces to fill out your concert programs. Here are eight brand new works I hope you will enjoy!

John Pasternak -

The New Frontier (2025) Grade 2

https://www.youtube.com/ atch?v=v6CH3FabHJU

Program Notes: Space is often referred to as the new frontier. In the piece The New Frontier, I wanted to convey the exploration through space, the mysteries and wonders of exploring space. In the piece, I imagined that not everything in space would be peaceful and wonderful. At M.54, I imagined that something had gone wrong with our mission, and M.62 – M.77 is the crew trying to correct

Band Music Reviews

Dr. Jeremy Stovall

whatever issue had arisen. Can you and your group get our group of space explorers home?

Evan VanDorenWith Gratitude (2025) Grade 2

https://www.youtube.com/ watch?v=GIIhOWukF9c

Program Notes: With Gratitude is a heartfelt musical letter to those in our lives to whom we want to give thanks. Composer Evan VanDoren writes, “I dedicate this musical letter of thanks to Robert W. Smith, my composing mentor. I count myself among the many lucky thousands to have been touched by his mentorship, music, and genuine personal kindness. I sincerely hope this work provides all who perform, conduct, and listen to it the opportunity to pause and reflect on those who have positively impacted our lives.”

Carol Brittin ChambersFlight of the Ravens (2025) Grade 3

https://www.youtube.com/ watch?v=t5IUa8C3c6M

Program Notes: Flight of the Ravens was commissioned by the Texas Lutheran University School of Music in 2023, dedicated with love and gratitude to Professor Beth Bronk for her work as Director of Bands at TLU, her thoughtful mentorship of students, and her friendship. Quite a lot of mythology exists surrounding the raven, arguably one of the most intelligent birds. The raven is often central to the mythology of the Pacific Northwest Coast Native Americans, which depicts the bird as both creator and trickster.

Mark Lortz -

Daredevil (2025) Grade 3.5

https://www.youtube.com/ watch?v=3fghPC2i_3w

Program Notes: Daredevil is an exhilarating musical journey inspired by the spirit of daring and adventure. From the heart-pounding excitement of high-speed stunts to the breathtaking feats of courage, this composition captures the fearless essence of the daredevil. Through dynamic rhythms, bold melodies, and dramatic contrasts, listeners can join in the adrenaline-fueled thrill of pushing boundaries and defying limits. Experience the rush of the unknown and embrace the fearless spirit of the daredevil in this electrifying musical adventure.

return of the opening melodies, concluding with a resounding victory.

Carol Brittin ChambersFandango (2025) Grade 3.5 https://www.youtube.com/ watch?v=cDoZ9FOqz0I

Program Notes: Fandango was commissioned by the Bradley Middle School Band, San Antonio, TX, Karlos Elizondo, director, in memory and honor of

Christina HussFor the Realm (2025) Grade 3.5 https://www.youtube.com/ watch?v=Rl4QgWlgQmw

Program Notes: For the Realm is an original band composition written as a modern tone poem for band. The piece opens with a proud, noble theme introduced by the Brass, featuring brief solos from the Euphonium, French Horn, Trumpet, and Trombone sections. Each Brass solo represents a different knight, symbolizing their devotion to their homeland. As the music progresses, additional voices are introduced, building until the entire realm is musically portrayed. The tension rises as the looming threat of invaders takes center stage, with both Winds and Percussion engaging in a fierce battle. The conflict culminates in a triumphant

Eugene Edward Geimer, Director (1985 – 2009). A fandango is an exuberant partner dance, originating in Spain and Portugal, which can be sung and danced. It is usually accompanied by castanets, Guitars, and hand-clapping, and it often consists of an introduction followed by “variaciones.”

William OwensLos Bailes Calientes (2025) Grade 4 https://www.youtube.com/ watch?v=qMNR1OEQjI4

Program Notes: As I’ve often said, composing music to honor the memory of a loved one is never an easy task. And to the family and friends of Mr. Jim Melhart of McAllen, Texas, this piece comes with sincere condolences and a heavy heart. As music written for a departed loved one is generally solemn and introspective, I was quite elated to be afforded the opportunity to compose a work of a festive nature. While being granted complete artistic freedom, my one caveat was for the piece to be quite reflective of the gentleman it honors. As Jim was a man who truly embodied

vitality, generosity, and joy, the idea of Latin dances immediately came to mind; the ultimate result being Los Bailes Calientes (The Sultry Dances).

Brian BeckFestival (2025) Grade 4 https://www.youtube.com/ watch?v=ddcf3d9XrPU

Program Notes: Festival captures the flash and brilliance of a Spanish pas a double, challenging every section both technically and musically. With its changing meters, chromaticism, and exciting rhythmic interplay, students will love sharing their performance. Perfectly suited for concert or contest use, it will be a highlight of your concert. This piece honors the Fire Ant Festival, a citywide celebration held every October in Marshall, Texas. The town square is teeming with vendors and concerts.

I hope you enjoy these brand new pieces for concert band. 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

Choral Music Reviews

Dr. William Powell

Something Told the Wild Geese (SATB and piano with optional cello; also available for three-part mixed, SSA)

Music by Douglas E. Wagner

Words by Rachel Field (1894-1942)

Choristers Guild

CGE550 (satb); CGE551 (three-part mixed); CGE552 (SSA)

$2.25 / $2.25 for ePrint

Accompaniment MP3 available (CGE550a)

Duration: 2:40

Wagner ascribes a very fitting melody to the text by Rachel Field that ponders the geese’s reaction to the changing seasons from summer to winter. Written in F minor, the harmonic structure is mostly homophonic with various moments of the melody being echoed in the lower voices. The vocal ranges are suitable for mid-range singing among all voice parts. With straight-forward melodic patterns and consonant harmonies, I find this song to be very accessible. The piano accompaniment is also accessible and delivers a flowing rhythm with the use of broken chords. Regarding the text, Wagner complements the natural cadence of the poem with a clearly structured musical cadence to highlight the singular words of warning to the wild geese: “frost,” “ice.” To end the song, he uses the same musical cadence to set up the final word (“cry”) which signifies the sound of the geese as they instinctively begin their migration for the winter. One can also glean other meanings and symbolism from the text such as the inevitable changes or transitions in life that we face as humans.

Tenho Todos as Sonhos / I Have All the Dreams (2-part treble and piano with optional percussion)

Words and music by Daisy Fragoso English translation by Henry Leck Hal Leonard Corporation 00319924

$2.50 / $3.80 for ePrint

Duration: 4:00

As stated by the editor, this song is based on a line from Portuguese poet Fernando Pessoa: “I have all the dreams of the world within me.” Written in the original language with occasional English phrases, it features vocal rhythms that alternate between syncopated sixteenth notes and eighthnote triplets, making it an excellent resource for teaching subdivided rhythms. The optional percussion along with the piano accompaniment add to the authenticity of the samba style presented in this song. There is a 16-bar instrumental “interlude” that is a repetition of the harmonic progressions

played during the main theme. The editor also provides a translation and pronunciation guide for the Portuguese text.

O come, ye servants of the Lord / Laudate nomen Domini (SATB)

Music by Christopher Tye (c.1505-c.1572)

Edited by James Gibbs Choral Public Domain Library https://www.cpdl.org/wiki/images/3/3c/Laudate_nomen_ Domini_Tye.pdf

Duration: 2:00

Latin text:

Laudate nomen Domini, vos servi Domini; ab ortu solis usque ad occasum ejus.

Decreta Dei justa sunt, et cor exhilarant: laudate Deum principes et omnes populi.

English text (Gibbs):

O come, ye servants of the Lord, and praise His holy name. From early morn to setting sun His might on earth proclaim. His laws are just, and glad the heart; He makes his mercies known: Ye princes come, ye people too, and bow before His throne.

English translation (CPDL):

Praise the name of the Lord, ye servants of the Lord; from the rising of the sun until the same setting. The decrees of the Lord are just, and [their] heart is glad: Praise the Lord ye princes and all ye people.

This sacred song from English Renaissance composer

Christopher Tye is hymn-like in form, although classified as a motet on CPDL. The consonant harmonies and simplistic imitative sections make it an accessible work for all choirs of mixed voices. As is permissible with Renaissance choral compositions, it can be transposed to a more suitable key at the conductor’s discretion. Additionally, Laudate nomen Domini can be a useful part of a choir’s repertoire when developing sight reading skills, tuning, or most any other essential element of choral singing.

William Powell Director of Choral Activities Auburn University

Tiny Little Rocket

David Fickling & Richard Collingridge

If you’re looking for a children’s book to build a space-themed unit or performance around, look no further than Tiny Little Rocket by David Fickling and Richard Collinridge. This gorgeously illustrated book has cute, rhyming text that tells the story of a tiny rocket and its journey into space. The rocket zips and zooms, hums and clicks, and gets knocked around by a meteor, giving so much opportunity to add unpitched percussion, Orff instruments, or creative movement. The text is neatly divided into rhyming couplets that students could create melodies, accompaniment, or movement to.

I used this book last year with my second graders as part of a spacethemed unit. We started by reading the book and adding some songs about space (of which I have many, thank you Orff Levels). My students loved the book so much they asked to create a performance

BLAST OFF WITH A BOOK THAT’S OUT OF THIS WORLD

to go with it! Some classes chose to create their own verses for “Aiken Drum,” some created movements to go with the song “Blast Off!” from Quaver, and others created space-themed building blocks with body percussion. All my classes chose to end their performance with a dramatic reading of Tiny Little Rocket. They added Orff instruments and speech as sound effects during the book.

I loved using this book in my classroom and can’t wait to see what new classes create with it! 2nd grade had a great time, but I think it would also work great for upper elementary, especially if you divided the text and had small groups create their own miniperformance for a few stanzas. The possibilities for adding instruments are endless - unpitched percussion for the rocket getting hit by the meteor, glockenspiels for the tiny rocket zooming, or even recorders or ukuleles could be great! This book lends itself well to student creativity with the language it uses and the lovely artwork. It would also be excellent to pair with some active listening to space-related music (hello, Holst and The Planets!).

by Jessica White

As an added bonus, you could go cross-curricular with some facts about our solar system! At the end, the book has an extra special banner to pull out that would make this book perfect for Earth Day. I won’t spoil the surprise for you, but trust me, the children will love it.

Tiny Little Rocket is currently unavailable from the publisher, but it can easily be found in used condition online!

Jessica White is the music teacher/ Orff specialist at Chestnut Grove Elementary, Decatur City Schools.

Introduction

Developing proper breathing technique is one of the most important aspects in learning to play any wind instrument. By becoming aware of proper breathing techniques and incorporating these techniques into everyday practice, saxophonists should be able to greatly improve all aspects of their playing. Even though proper breath support is one of the most important aspects of playing a wind instrument, some saxophonists ignore this aspect of performance since other factors occurring simultaneously also require their attention. If saxophonists do not play with the proper breath support, numerous performance problems are likely to result. To avoid these problems, diaphragmatic breathing should be used to establish proper breath support, allowing the embouchure and instrument to work correctly together. Although the method is sometimes not an instinctive habit for many players with focused practice, this method of breathing can be mastered and will greatly enhance a saxophonist’s performance ability.

Inhalation

The first factor in developing breath support is proper air intake. The saxophonist should breathe air in through the corners of the mouth while keeping the rest of the embouchure in place on the mouthpiece. An alternative to this method is to drop the lower jaw, keeping the lower lip in place over the lower teeth, and breathe in through the center of the mouth. Either method is acceptable and should be determined by the individual performer. When breathing in, air should be inhaled quickly and deeply in one large breath. As the diaphragm drops downward, it forces the waist area

to expand outward in all directions, even on the sides and back. The shoulders should not rise but remain motionless. Saxophonists should think of filling up the body with air, starting with the area around the belt buckle and moving up to the head. Imagine pouring water into a container, filling it up from the bottom.

Air Flow Downward Into Lungs During Inhalation

Exhalation

When breathing out, the saxophonist should push the air upward with the diaphragm muscle located in the area just below the rib cage. The visible effect will be the waist area contracting to its original position before the breath was taken. This motion is much more intense than breathing out normally. When blowing air into the instrument, a narrow, steady stream of pressurized air should be blown throughout the phrase being played.

Air Flow Upward and Out of Lungs During Exhalation

Dr. Tracy Heavner

Air Pressure

When correctly performing the breathing motion, correct air pressure will be maintained in the oral cavity, allowing the embouchure to work properly. In addition, by having air pressure pushing outwards in all directions in the oral cavity, the saxophone can be played with less embouchure pressure from the lower jaw and teeth on the lower lip. The reason is that air pressure pushing downward on the jaw and lower teeth from inside the oral cavity helps equalize the upward pressure applied from the jaw and lower teeth. This will allow the reed to vibrate more freely, producing a more resonant sound.

Embouchure and Air Pressure

Breathing Exercises

One exercise to practice proper breathing is for the saxophonist to lie down on the back or stand with the back against a wall while placing a hand on the stomach. Next, a large breath should be taken through the mouth, making sure that the waist expands in all directions as air enters the body. When performed properly, it will feel as if the air is filling up the body, starting at the belt buckle and moving up to the head. The shoulders should not move during this process. If they do, the process is being performed incorrectly and must be tried again. Lying down or standing with the back against a wall should assist in this matter by holding the shoulders stationary while inhalation is taking place.

Another alternative position for this exercise, in addition to lying down or standing with the back against a wall, is to sit in a chair and bend over, placing the chest against the knees. This position will also assist in keeping the shoulders stationary during inhalation.

When exhaling, the saxophonist should blow a narrow, consistent stream of pressurized air in a slow, controlled manner with the diaphragm muscle. As a result, the waist area

that was expanded during inhalation will return to its original position. When exhaling, the lips should be shaped in an “O” position, which will continue to focus the air into a narrow, concentrated stream similar to one used to blow out a candle. This will approximate the motion performed when playing the instrument. The saxophonist should practice this exercise by inhaling for two seconds and exhaling for eight seconds. With practice, a performer will develop the ability to inhale a large quantity of air in one quick breath, allowing long phrases to be played with no loss in tone quality or control.

Review of Proper Breathing Procedures

(1) Breathe in quickly and deeply through the mouth

(2) Fill up the body with air from the bottom up

(3) The waist should expand outward while the shoulders remain motionless

(4) Breathe out by pushing the air upward with the diaphragm

(5) A narrow, consistent, controlled stream of air should be blown out

(6) The waist should contract back to its original position

(7) Proper air pressure should be maintained in the oral cavity

(8) With proper air pressure, less jaw and lower teeth pressure is needed.

Summary

Diaphragmatic breathing is not always an instinctive habit for many players, but with careful attention and focused practice, this method of breathing can be mastered and will greatly enhance a saxophonist’s performance ability.

Dr. Tracy Heavner is an internationally renowned music educator and distinguished performance artist having performed in more than sixteen countries on six continents as an artist for Cannonball, D’Addario and Jody Jazz Music Corporations. Dr. Heavner is a professor of saxophone, music education and jazz studies at the University of South Alabama where he has taught for the past thirty years. He has published over 140 pedagogy articles in music journals and also authored two books. His most recent book is entitled Saxophone Secrets: 60 Performance Strategies for the Advanced Saxophonist published by the Bloomsbury Publishing Group.

Preparing for Your First Day of Jazz Ensemble Rehearsal

by The Jazz Collective

Dr. Dave Camwell Professor of Music - Troy University

Your Most Important Jazz Ensemble Rehearsal of the Year: Day One

The first rehearsal of the year with your jazz ensemble may be the most important one you’ll have. It sets the tone, builds momentum, and lays the foundation for the months ahead. Here are three essential considerations for making that first day a success:

1. Setting the Tone

How do you want your students to perceive you? Are you the no-nonsense drill sergeant, the laid-back “let’s have fun” director, or something closer to J.K. Simmons in Whiplash (hopefully minus the chair throwing)?

Whatever your style, authenticity is key. Be true to who you are—but consider turning up the dial on your energy, enthusiasm, and charisma. Students feed off your vibe, and if you’re not bringing the motivation, it’s unlikely they will either. As the leader, you set the emotional and musical temperature of the room.

Pro tip: record yourself during rehearsal. Watching the playback can offer surprisingly useful insight into your body language, tone, and how students might be perceiving your leadership. It’s not always easy to watch—but it’s worth it.

2. Choosing the Right Charts

Selecting the right music is critical. Too difficult, and you risk discouraging your students. Too easy, and they’ll disengage. Lack of stylistic variety can also limit their growth and interest.

On day one, consider introducing 5-7 charts across a range of styles and difficulty levels. Bring along 1-2 minutes of audio for each to help students grasp the groove and feel of each piece-many students simply aren’t strong sight-readers and benefit from hearing the music first.

As you sight-read, observe both the students’ musical response and their engagement. Afterward, ask them which pieces they liked (and which they didn’t). Their answers might surprise you-and can guide your programming choices for the year. The goal is to find charts that challenge, educate, and excite your ensemble.

3. Physical Setup

The layout of your jazz ensemble can make or break your rehearsal. Students need to hear each other and see you clearly. Make sure the ensemble is arranged to promote balance, visibility, and communication. Below is a recommended setup diagram:

A well-thought-out physical setup helps eliminate small but significant issueslike miscommunication, time wasted on moving chairs mid-rehearsal, or poor ensemble blend.

Final Thought:

Your first rehearsal is your chance to inspire, guide, and energize your ensemble. Bring your best self, make thoughtful choices, and set the stage for a successful and rewarding year of music-making. Good luck!!

Christopher Kozak Associate Professor and Director of Jazz Studies, The University of Alabama

Starting Fresh: Building a Band from the Ground Up

Every new band season brings its own set of challenges but many of those won’t reveal themselves until rehearsals begin. Without thoughtful planning months in advance, it can be hard to know where to start when that first

downbeat hits with your new lineup.

Much like sports teams here in the South, it’s not uncommon to rebuild almost entirely from scratch each year. Lead trumpet players graduate, soloists switch to sports that conflict with rehearsal, students transfer schools the stories are familiar. So, what can we do?

Honestly, not much except improvise.

Even with the best-laid plans, you may find yourself handed a group that’s not quite a dream team, but rather, diamonds in the rough. And in many ways, that’s a gift. It’s your time to shine.

Stick to a Game Plan, But Stay Flexible

Having a consistent game plan from year to year can be a lifesaver. If something works, keep it in rotation. Many veteran directors have a method they trust and rarely change. That’s not a bad thing their professionalism, influence, and reputation are often what draw students to their programs.

No matter where you are in your career, creating a rehearsal space that invites curiosity and growth is key to keeping students engaged.

Set the Tone from Day One

Start rehearsals with a recording from the genre you’ll be working in. Listening is the cornerstone of musical success. Follow that with a warm-up routine— scales, tuning exercises, or ear-training drills to help students acclimate to the musical environment they’ll be

immersed in for the season.

There are plenty of resources available through publishers like Kendor and Alfred Music, or even online. A quick search can lead you to exercises you can tailor to your ensemble’s needs.

Once they’re settled in, it’s time to get to work.

Choose Repertoire Strategically

On the first day, sight-read several charts with varying levels of difficulty and stylistic diversity. Let the band play! I’ve made the mistake of spending too much time reviewing the syllabus and schedule, only to run out of time for music. Don’t miss that opportunity.

If you hold auditions, use this time to evaluate how your seating choices are working. Let students know that placements aren’t final until you’ve had time to assess. Leave space for improvisation to identify potential soloists, new talent often emerges with the right encouragement.

Time Is Precious, Use It Well

If your rehearsal time is limited and you’ve planned accordingly over the summer, stick to your schedule. Consistency is key. Be on time, have charts ready, and keep storytelling to a minimum unless it directly supports the music. Most importantly, keep the focus on playing.

Encourage Accountability

Remind students early on that rehearsal

is for shaping and polishing not learning their parts. Out-of-rehearsal practice is essential. With the right encouragement, students will see that playing in an ensemble is a deeply rewarding experience.

Lead with Purpose and Positivity

You’re setting the tone for how your band will operate during rehearsals, performances, and beyond. Be positive, focused, and respectful, and expect the same in return. Your commitment to helping them grow as musicians will be reflected in how you lead.

Set clear expectations from the start. If students see you consistently uphold those standards, they’ll be more likely to rise to meet them.

Dr.

Steve Roberts

Director of Jazz Studies

University of Alabama at Birmingham

As my colleagues have emphasized, the opening weeks of a jazz ensemble’s season set the tone for everything that follows musically, socially, and culturally. Whether it’s audition strategy, repertoire selection, or setting rehearsal expectations, a well-considered start can lay the groundwork for long-term artistic growth. While jazz education inherently involves improvisation and adaptability, directors who begin the year with a clearly defined pedagogical plan rooted in their ensemble’s unique makeup are best positioned to develop not just skilled performers, but invested, stylistically informed musicians.

Repertoire Selection: Leaning Into Strengths, Avoiding Pitfalls

Choosing repertoire based on the strengths and limitations of the current ensemble is both strategic and musical. Directors must assess the ensemble’s makeup with honesty: you may have a stellar rhythm section but no true lead trumpet, or perhaps strong brass and underdeveloped saxophones. These realities should guide not just your repertoire, but your entire programming philosophy. As Dr. Camwell outlines, introducing 5–7 diverse charts early in the season is an effective strategy, not only for diagnostic purposes, but

for capturing students’ interest and identifying stylistic gaps.

Swing, as always, remains the cornerstone. While genre diversity is important to foster stylistic adaptability, swing should not be treated as just one genre among many, it is the dialect through which young jazz musicians best learn phrasing, groove, and articulation.

Auditions and Sight Reading: Foundations of Ensemble Readiness

Auditions in my program prioritize sight-reading ability. While improvisation is vital to the art form, the majority of ensemble time, especially in larger groups, is spent reading, interpreting, and refining notated music. I need to know that each student, regardless of whether they are a soloist or a section player, can navigate basic rhythms and notational conventions on the first try.

Daily Rehearsal Structure: Fundamentals First

I strongly advocate for the inclusion of fundamentals at the beginning of every rehearsal. Many of my students arrive unfamiliar with jazz-specific articulation, often defaulting to habits formed in concert band environments such as tonguing every note or slurring entire phrases. We begin each rehearsal by focusing on articulation, time-feel, and basic stylistic vocabulary in different keys. These foundational moments help set a standard and provide continuity across rehearsals.

Improvisation for All!

Although time constraints in big band settings make individual improvisation challenging, I believe every student in the ensemble, regardless of their role, should be given opportunities to improvise. Creating low-stakes moments for experimentation helps students gain confidence, and it reinforces the truth that improvisation is not merely a feature of jazz, but its essence.

Sectionals, Jam Sessions, and Listening Labs: Beyond

the Downbeat

Weekly sectionals serve a dual purpose: they clean up ensemble playing and

build camaraderie. I task my lead players with identifying and addressing the key challenges in the music, using tools such as metronomes and apps like Drum Genius to solidify time and style. Though peer-led settings can sometimes produce tension, more often they encourage mutual accountability and student-led learning.

Equally important are non-rehearsal environments that deepen students’ connection to the music. Listening labs offer low-pressure exposure to the greats essential for developing internalized models of swing, articulation, and phrasing. Jam sessions, whether run by the program or found in the community, provide real-world opportunities for students to test their skills and find their musical voices. These extracurricular experiences complement classroom learning and, more importantly, help cultivate a lifelong passion for the music.

Conclusion

Creating an exceptional jazz ensemble experience starts not with a downbeat, but with deliberate choices made well before the first rehearsal. From

programming and personnel to improvisation and listening culture, everything we do as educators contributes to shaping a vibrant, responsive musical community. When those efforts are rooted in both structure and flexibility we foster an environment where students don’t just play the music, but begin to live it.

Dr. Andy Nevala

Full Professor and Director of Jazz Studies

Jacksonville State University

My colleagues have touched on many important subjects in preparing for your first day of Jazz Ensemble rehearsal. Just as important is what you do before the 1st rehearsal: placement auditions. Putting the right people in the right seats on the bus will make or break your ensemble. At JSU, where we have 4 Jazz Ensembles, a Latin Ensemble, and 6 combos, it is vital that we get the placement auditions done correctly.

Audition Placement, Rhythm Section: Your band will only be as good as your

drummer. This person needs to be able to read music, have a great internal metronome, be able to demonstrate knowledge of a few specific grooves (Mambo, Bossa Nova, Swing, AfroCuban, Funk, Shuffle, etc.), be able to figure out logistics of setup BEFORE rehearsal time starts, practice good personal hygiene, all the things. You might have the best drummer you’ve ever heard, but if they can’t read, they won’t be able to function in my top ensemble, due to the nature of what that ensemble does. We play many different events, with different sets throughout the year, and there is no way to participate without being able to read. They won’t be able to memorize that much music, with the hits, and the endings, in that short a time period. Your bass player also needs to read, but it can be chord charts and/or notes on the page. Most bass charts have both; if they don’t, write it in. Piano: this person also needs to be able to read music. Many of the important charts have written out parts and then the solo sections have chord changes. Guitar: same as piano, but being able to read chord changes is a must. When we put together rhythm sections for the many combos and other big bands, we try to find musicians that are a good fit for each other. For the top band, it’s the best musicians that can do the job.

Audition Placement, Horns:

After you have your rhythm section set, fill the lead spots: lead Trumpet, lead Trombone, lead Alto. These are usually the best players in the concert bands as well. Strong readers who

are good enough musicians to learn different styles and ways of playing by listening to recordings as required. These players do not need to be great improvisers, they need to be able to play the part accurately and consistantly. 2nd Trumpet is a tough spot to fill as those parts are written in the higher register, with weird intervals. This person also needs to be able to cover a lead trumpet part on a song or two. Bass Trombone (4th Trombone) and the Bari Sax need to be strong musicians to hold down the low end of the band and keep the band in tune.

Fill your solo parts next: 1st Tenor and 3rd or 4th Trumpet usually have the solo changes. The written parts aren’t difficult for these players, because they need to be able to solo. Fill in the other parts with players you want to be playing lead roles in next years band, so they can get an idea of the expectations of playing in the top band. I also change up parts depending on the song/gig. Maybe the 2nd Tenor wants to play a solo on a blues, so I’ll have that person switch parts with the 1st Tenor on one song.

Programming:

My programming choices for the year are determined by the many variables that are in play as the school year starts up. At the University level, you never really know who is going to be in the group until you hold the auditions. Life happens. Students take a semester or two off to work, or drop out completely, get married and start a family, or march DCI all summer and

never practice their instrument. You never know what you are going to get, regardless of any expectations you might have.

I have an idea of things I’d like to do, but I’ll spend the first two weeks sight reading charts. I’ll try to get through 6-8 charts a rehearsal, and make notes as to what will sound good, what will need real work, and what I should put back on the shelf. I try a mix of older arrangements (Basie, Ellington), a Thad Jones chart, Nestico, and the modern arrangers. Many of the new arrangements and compositions coming out now are outstanding and are really helping move the music ahead.

I also like to feature the students that are playing at a high level. Find a trumpet feature, or a great arrangement with a piano intro, or a duet. We also started including vocalists for each ensemble, so the bands can experience what is like to back up a vocalist. We are trying to prepare our students to be successful out in the real world, which means they need to be performing in as many different situations as possible. School is the only place where a person has 3 months to learn 20 minutes of music. The real life big band scene is sight read, sight read, sight read, play a short 8 bar solo, then more sightreading.

Conclusion:

We hope this article helps you in getting ready for your jazz band rehearsals! If you need any help, or have any questions, feel free to contact any of us.

AMEA DIVISION EVENTS 2025-2026

ALABAMA VOCAL ASSOCIATION

AMEA Honor Choir

All-State Auditions

January 22-23

October 30-31, 2025

November 2, 2025 (Afternoon)

November 3, 2025

November 4, 2025

November 5, 2025

November 6, 2025

District OCS/ME

BJCC, Birmingham

Mayfair Church of Christ, Huntsville

December 1, 2025

September 26, 2025

Florence High School, Florence September 26, 2025

Christ Episcopal Church, Tuscaloosa

Bluff Park UMC, Hoover

Meadowbrook Baptist Church, Oxford

Saint James School

November 7, 2025 3 Circle Church, Fairhope

District I, November 13, 2025

District II, November 18, 2025

District III, December 4, 2025

District IV, November 20, 2025

District V, November 10, 2025

District VI, December 2, 2025

District VII, November 17, 2025

Solo & Ensemble District I, March 2, 2026

District I, March 3, 2026

District II, April 7-8, 2026

District III, March 17-19, 2026

District IV, February 12, 2026

District V, March 24, 2026

District VI, March 3, 2026

District VII, February 26. 2026

State Assessment District I, March 2, 2026

District I Monday, March 3, 2026

District II, April 7-8, 2026

District III, March 17-19, 2026

District IV, April 10, 2026

District V, February 12-13, 2026

District VI, March 3, 2026

District VII, March 24, 2026

Virtual

September 26, 2025

Virtual September 26, 2025

University of North Alabama, Florence

Decatur First Baptist Church, Decatur

Pelham First Baptist Church, Pelham

January 13, 2026

Riverchase United Methodist Church, Hoover January 13, 2026

JSU Mason Hall, Jacksonville

January 13, 2026

First Christian Church, Huntsville January 13, 2026

Eastmont Baptist Church, Montgomery January 13, 2026

Eastern Shore Baptist Church, Daphne

January 13, 2026

University of North Alabama, Florence January 13, 2026

Decatur First Baptist Church, Decatur January 13, 2026

Pelham First Baptist Church, Pelham January 13, 2026

Riverchase United Methodist Church, Hoover January 13, 2026

TBD January 13, 2026

Bob Jones High School, Madison January 13, 2026

Eastmont Baptist Church, Montgomery January 13, 2026

First Fairhope Church, Fairhope January 13, 2026

ALABAMA ORCHESTRA ASSOCIATION

All-Region Orchestra Festivals

January 10 & 11, 2026 All-State Orchestra

February 12-15, 2026

University of Alabama OMPA

April 10, 2026

ELEMENTARY/GENERAL DIVISION

Aug. 23, 2025, 9:00-1:00

Sep. 6, 2025, 9:00-3:00

Nov. 15, 2025, 9:00-1:00

Nov. 19-22, 2025

Jan. 22-24, 2026

Jan. 23, 2026

Mar. 5-8, 2026

Apr. 24-25, 2026

Spring 2026 (TBA)

East AL General Music Workshop: Mandy W. Gunter

Kodaly Workshop: Dr. Susan Brumfield

Orff Workshop: Rob DelGaudio

Grace UMC, Auburn

Edgewood Elementary

Samford University

AOSA National Conference Lexington, KY

AMEA Conference

BJCC & Sheraton Hotel

AMEA Elementary All-State Choir BJCC

OAKE National Conference Chicago, IL

ACDA Young Voices Festival

University of Alabama

Kodaly Workshop: TBA TBA

Orff Workshop: Dr. Erika Knapp Samford University

Statewide

ALABAMA BANDMASTERS ASSOCIATION

All State Jazz Recordings

AMEA Conference

All-State Jazz Festival

All State Solo Festival

All State Festival

Jazz Adjudication

District 1

District Fall Meeting

All State/ District HB Auditions

District Honor Band

MPA #1

MPA #2

Solo and Ensemble #1

Solo and Ensemble #2

District 2

District Fall Meeting

All State Auditions

District Honor Band

MPA

District 3

District 4

alaband.org

BJCC, Birmingham

Arthur Outlaw Center, Mobile

Thompson High, Alabaster

James Clemens High School, Madison

Huntsville High School, Huntsville

Lee High School, Huntsville

James Clemens High School, Madison

Hartselle HIgh School, Hartselle

Liberty Middle School, Madison

Priceville High School, Decatur

Main Channel Albertville

Gadsden City High School, Gadsden

Albertville High School, Albertville

Gadsden City High School, Gadsden

Solo and Ensemble Boaz High School, Boaz

District Fall Meeting Zoom Meeting

All State Auditions

Muscle Shoals High School, Muscle Shoals

District Honor Band Russellville High School, Russellville

MPA University of North Alabama, Florence

Solo and Ensemble Muscle Shoals Middle School, Muscle Shoals

District Fall Meeting

All State Auditions

District Honor Band

Iguana Grill, Hoover

Hoover High School, Hoover

Oak Mountain High School, Birmingham

January 22-24, 2026

April 15, 2026

April 16-18,2026

April 9, 2026

August 18, 2025

January 30-31, 2026

March 1, 2026

August 13, 2025

December 19, 2025

February 20-21, 2026 N/A

February 24-26, 2026

March 3-5, 2026

April 11, 2026

May 2, 2026

August 17, 2025

January 31, 2026

February 6-7, 2026

March 3-6, 2026

May 2, 2026

August 18, 2025

January 31, 2026

February 13-14, 2026

March 3-5, 2026

February 3, 2026

March 21, 2026

April 11, 2026

December 19, 2025

January 31, 2026

April 1, 2026

December 19, 2025

February 4, 2026

February 9, 2026

May 2, 2026 April 10, 2026

September 8, 2025

January 31, 2026

February 20-21, 2026

District Spring Meeting Oak Mountain High School, Birmingham February 20, 2026

MPA #1

District 5

Thompson High School, Alabaster

MPA #2 Vestavia Hills High School, Vestavia Hills

Solo and Ensemble Thompson Middle School, Alabaster

District Fall Meeting

All State/District HB Auditions

District Honor Band

District Spring Meeting

MPA

Solo and Ensemble #1

Solo and Ensemble #2

District 6 District Fall Meeting

All State Auditions

District Honor Band

MPA

Solo and Ensemble

District Spring Meeting

District 7 District Fall Meeting

All State Auditions

MPA

District Honor Band

District 8

March 2-5, 2026

March 10-13, 2026

December 19, 2025

February 6, 2026

December 19, 2025

May 2, 2026 April 10, 2026

Zoom Meeting N/A

Brookwood Middle School

University of Alabama

Brookwood Middle School

Marbury High School

TBD

Smiths Station High School

Auburn Jr. High School

Auburn High School

Fox Run School, Opelika

Zoom Meeting

TBD

University of Mobile, Mobile

Baker High School, Mobile

Daphne High School, Daphne

Solo and Ensemble Central Baldwin Middle School, Robertsdale

District Spring Meeting

District Fall Meeting

All State Auditions

MPA

District Honor Band

District Spring Meeting

Solo and Ensemble #1

Solo and Ensemble #2

September 21, 2025

January 22-24, 2026

Zoom Meeting

Shane's Rib Shack, Enterprise

Coppinville Junior High, Enterprise

Enterprise High School, Enterprise

WS Neal HS, Brewton

Houston Academy, Dothan

January 31, 2026

February 20-21, 2026

January 9, 2026

January 30, 2026

February 21, 2026 N/A

March 10-13, 2026

April 18, 2026

May 7, 2026

February 13, 2026

March 27, 2026

April 16, 2026

TBD N/A

January 31, 2026

February 13-14, 2026

March 2-5, 2026

April 25, 2026

December 19, 2025

February 6, 2026

April 3, 26

May 6, 2026 N/A

August 25, 2025

January 31, 2026

March 2-6, 2026

March 19-20, 2026

December 19, 2025

February 6, 2026

February26, 2026

May 2, 2026 April 10, 2026

May 3, 2026

August 25, 2025 N/A

January 31, 2026

March 3-5, 2026

March 6-7, 2026

December 19, 2025

February 6, 2026

March 6, 2026 N/A

May 2, 2026

May 9, 2026

AMEA COLLEGIATE DIVISION

April 9, 2026