The Official Publication of the Alabama Music Educators Association February/March 2025
Ala Breve is published four times a year (August, October, February & May) by the Alabama Music Educators Association.
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August/September
(Back to School issue): July 15
October/November (Conference issue): September 15
February.March (All-State issue:)
January 15
May/June (Summer issue:) April 15
Unless otherwise indicated, permission is granted to NAfME members to reprint articles for educational purposes. Opinions expressed in this publication are not necessarily those of AMEA or the Editor. All announcements & submissions are subject to editorial judgement/revision. The Alabama Music Educators Association is a state unit of NAfME:
The National Association for Music Education is a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME/ AMEA membership is open to all persons engaged in music teaching or other music education work.
Editor & Advertising Manager: Garry Taylor 1600 Manor Dr. NE Cullman, AL 35055 (256) 636-2754 editor@myamea.org
AMEA Governing Board 2024-2025
Dr. Phil Wilson President Ogletree Elementary School 737 Ogletree Road Auburn, AL 36830 (334) 538-9679 president@myamea.org
Lori Hart President, Alabama Bandmasters Association
Guntersville High School 14227 US 431 Guntersville, AL 35976 (334) 797-1778 aba_president@myamea.org
Alicia Luttrell President, ELEM/GEN Old Shell Road School 3160 Heather St. Mobile, AL 36607 (251) 221-1557 aluttrell@mcpss.com
Joey Harbison Industry Representative Gadsden Music Company 607 Broad Street PO Box 132 Gadsden, AL 35901 205-910-2622 jmharbison@aol.com
Dr. Travis Bender
President-Elect
Oak Mountain High School 5476 Caldwell Mill Road Birmingham, AL 35242 (205) 682-5267 president_elect@myamea.org
Amanda Slay President, Alabama Vocal Association Hoover High School 1000 Buccaneer Drive Hoover, AL 35244 (205) 439-1227 amanda.slay.ava@gmail.com
Stephen Foster President, HED Division Faulkner University 5345 Atlanta Hwy Montgomery, AL. 36104 (334) 386-7656 sfoster@faulkner.edu
Andy Meadows Alabama Department of Education Arts Education Specialist 50 North Ripley Street Montgomery, Alabama 36104 (334) 694-4768 ameadows@ALSDE.edu
Dr. Russell (Rusty) Logan Executive Director 2020 Janabrooke Lane Auburn, AL 36830 (334) 663-1702 executive_director@myamea.org
David Raney Assistant Executive Director 25162 Hudson Bend Athens, AL 35613 (256) 651-8223
Dr. Rob Lyda
Immediate Past President Cary Woods Elementary School 715 Sanders Street Auburn, AL 36830 334-663-0898 past_president@myamea.org
Heather Holmes Recording Secretary Oak Mountain Middle School 5650 Cahaba Valley Rd Birmingham, AL 35242 205-682-5210 recording_secretary@myamea.org
Jordan Ford President, Alabama Orchestra Association Thompson Middle School (205) 685-8100 jkirchner.1223@gmail.com
Dr. Meghan Merciers Alabama cNAfME Advisor University of North Alabama UNA Box 5040 142 Music Building Florence, AL 35632-0001 (256) 765-4518 mmerciers@una.edu
Pat Stegall Treasurer-Registrar AMEA Registration PO Box 3385 Muscle Shoals, AL 35662 (256) 627-4661 treasurer_registrar@myamea.org
Garry Taylor Editor, Ala Breve 1600 Manor Dr. NE Cullman, AL 35055 (256) 636-2754 editor@myamea.org
The University of North Alabama Department of Music offers scholarships to qualified music majors and minors in all instrumental, vocal, and piano programs through auditions
Degrees Degrees Degrees
Ensembles may be eligible for a rdless of their academic major.
‣ Generous Scholarships Available for Music Majors and Minors
‣ All members of the Jaguar Marching Band receive a scholarship
‣ Music and Jaguar Marching Band scholarships are stackable with other USA Academic Awards
Audition Dates
February 8, 2025
February 20, 2025
March 15, 2025
April 5, 2025
USA
November 2, 2024
Jaguar Marching Honor Band
February 20-22, 2025
USA Concert Honor Band
April 19, 2025
Jag Drumline Auditions
April 26, 2025
USA Colorguard Auditions
Degree Programs
BM in Music Education
BM in Performance
BM with Elective Studies in Music Business
BM with Elective Studies in Specific Outside Fields
MM in Music Education
MM in Performance
MM in Collaborative Keyboard
Music Minor
AMEA Industry/Institutional Membership 2024-2025
AMEA would like to express appreciation to the following partners who have joined AMEA in our efforts to promote music education in Alabama. Please support these industry/institutional members who support you as music educators!
American Travel Consulting
https://www.americantravelconsulting.com
Auburn University Department of Music
132 Goodwin Music Building, Auburn, AL 36849 https://cla.auburn.edu/music/
Arts Music Shop
3030 East Blvd, Montgomery, AL 36116 https://artsmusicshop.com
Gadsden
Music Company
607 Broad St., PO Box 132, Gadsden, AL 35901 https://gadsdenmusic.com/
J.W. Pepper of Atlanta
9053 Riverside Parkway, Lithia Springs, GA 30122 https://www.jwpepper.com/
Jay and Susie Gogue Performing Arts Center
910 South College Street, Auburn, AL 36849 https://goguecenter.auburn.edu
Marchmaster/Fruhauf
14 Lake Point Drive, Dahlonega, GA 30533 https://marchmaster.com/
Southern Performances
427 Apollo Avenue, Gulf Shores, AL 36542 https://southernperformances.com/
3680 Preserve Blvd., Panama City Beach, FL 32408 https://www.panamacitybeachmusicfestival.com/
The University of Alabama School of Music
810 2nd Avenue, Tuscaloosa, AL 35487 https://music.ua.edu/
Troy University John M. Long School of Music
112 Long Hall, Troy, AL 36082 https://www.troy.edu
The University of North Alabama
UNA Box 5040, Florence, AL 35632 https://www.una.edu/schoolofthearts
The University of South Alabama Department of Music
5751 USA Drive South, Mobile, AL 36688 https://www.southalabama.edu/colleges/music/
Dr. Phil Wilson, AMEA PRESIDENT
Here Comes the Sun
The week of the AMEA conference is typically filled with a flurry of activities in preparation for the hundreds of music educators who will soon arrive for their professional learning opportunities. Zoom meetings occur to ensure everyone has their specific job responsibilities ready to leap into action, while phone calls and in-depth conversations with various speakers ensue. One of many final checks of your personal schedule happens to resolve potential conflicts that may hinder you from hearing the performing ensemble you want to hear or attending the sessions you so desperately need to participate in. Conference preparation is a flurry of activity, but this year, a different flurry took place.
As I sat gazing out of my window at the light snow beginning to fall and collect on the ground the day before the conference, a panic began to rush
over me. What if this year is a repeat of last year and at the last minute, we would have to make the call to cancel the conference? What if all the money that had already been spent went to waste with no means of recouping? What if my phone started buzzing with phone calls and text messages from members who were asking my opinion on what they should do regarding the conference? What if? With hope in my heart, I started packing my bag and getting myself ready for a conference I was not sure was going to take place. I lay in bed and hoped sleep would find me.
The next morning, I woke to a winter wonderland outside my door, which is not typical for the Auburn/Opelika area. Icicles hung from the eaves of my house, while a blanket of white snow hid my dormant grass causing more gloom as I realized I may not make it
to the conference. Suddenly a gleam of sunlight caught my eye, and I turned in its direction. That sunlight was my hope becoming reality. Here comes more sun! As I watched the sun melt the ice and snow off my driveway, I realized I may be able to make it out after all. When I felt safe, I packed the car, put the car in reverse, and made my way, uneventfully, to Birmingham for the conference. Man was I glad to be there!
As I reflect on the events of the conference, I am thankful for the sunny dispositions I encountered during the week as I passed familiar and new faces. I am grateful for the array of badges that littered the tables in the registration area signaling a record number of members attending AMEA despite the weather. Some of them for the very first time, and some for over 60 years. I am thankful for the AMEA staff, Dr. Rusty Logan, David Raney, Pat and Mary Ann Stegall, and Garry Taylor who are pros at what they do, finding new ways to make the conference run more smoothly than years prior. I am thankful for a governing board who listens intently, brings challenging, but relevant issues before the board, and runs their divisions as the professionals they are. Thank you, Lori Hart, Jordan K. Ford, Amanda Slay, Dr. Stephen Foster, Alicia Luttrell, JP Aufdemorte, Dr. Meghan Merciers, Joey Harbison, and Andy Meadows for your work in assembling a team of dynamic speakers, performers, and opportunities outside of the conference. I am particularly thankful for the rays of President-elect Dr. Travis Bender, Past President Dr. Rob Lyda, and Recording Secretary Heather Holmes, for helping to keep me grounded and aware of my duties.
I don’t know about you, but I am still basking in the glow of Dr. Tim’s inspirational keynote reminding us of who we are, what we do, and most
importantly, why we do what we do. The Aeolians of Oakwood University in Huntsville opened the heavens and shined beautiful sounds among us. I’m still trying to get rid of the chills from their concert! Every session and concert I was able to pop into was filled with joyous smiles and active learning. All-in-all, the same sunshine that melted the ice, snow, doom, and gloom from my driveway appeared in Birmingham and presided over a successful 2025 conference! A special thanks to you who continue to make the Alabama Music Educators Association the best in the South!
Our annual conference can only be as good as our members make it. We encourage you to consider submitting session proposals and performing ensembles to be considered for the 2026 conference in Birmingham.
Professional Development
The East Alabama Regional Inservice Center (EARIC) has agreed to award professional development (PD)credit to those members who attended the AMEA conference. Please check the eNewsletter, coming out at the beginning of February, for the link to sign up to receive PD credit. If your system requires a certificate instead of Powerschools credit, please email
president@myamea.org or executive_ director@myamea.org and one will be emailed to you.
Wellness
Each year around the same time, I begin to feel the same way; voice hoarse and exhausted from day-to-day teaching, my mind becomes a mental fog, not COVID-related, and I can’t always garner the energy to complete tasks. If
this is you too, please know that many, if not all, music teachers feel the same way. In the early spring, I would like to host a wellness town hall to address some of these issues. We will have an expert briefly share with us what we can do to physically and mentally help us stay well. Know that this town hall is not a prescription for what may be more seriously happening in your body, but instead guidelines/suggestions.
MIOSM
This year is the 40th Music in Our Schools Month! The theme is United Through Music. Dr. MIOSM chair Dr. Becky Halliday and her committee will be rolling out some fun simple ways we can celebrate the music of our schools and community. Stay tuned.
I hope that your post-conference days are filled with sunshine, musicmaking, and fun. If I, or any of the AMEA governing board can ever be of assistance to you, please let us know.
It has been the honor of my career to serve you as AMEA President!
Keep your place in the sun…
Phil R. Wilson, President
AMEA President Dr. Phil Wilson congratulates Jeremy Jordan, Director of the AMEA Featured Performers, The Aeolians of Oakwood University
AMEA President Dr. Phil Wilson and Keynote Speaker Dr. Tim Lautzenheiser
Alicia Luttrell
Elementary/General
The Conference Buzz: Highlights from the 2025 Elementary Music Sessions
The AMEA conference is always the annual highlight of my journey as a music educator. It is the place many of us go every year to strengthen connections with mentors, former students, and colleagues from far and wide while finding new friends and associates with whom we can learn and grow. This year was no different. Despite a rare winter storm making some roads impassable in the southern part of the state, hundreds of music educators, music teacher educators, and students convened in Birmingham to collaborate, learn, and connect with colleagues and friends in the music teacher world.
We kicked the conference off to a fantastic start with Shades Mountain
Elementary School Singers and conductor Meredith Devore. These students wowed us all with beautiful singing which incorporated percussion instruments, movement, and recorders. What a treat for us all!
Then, Forum J at the BirminghamJefferson Convention Complex (BJCC) came alive as impassioned music educators talked and made music with other devoted music educators while learning about exciting elementary music methods and real ways to put new ideas into practice.
Some highlights include learning about Taiko drumming and black excellence in the music classroom with dynamic duo, Jamal and Lillian Kennedy.
We attended sessions to learn about choral warmups, movement, and new repertoire for the elementary choir from Greg Gilpin.
Lorelei Batisla-ong and BethAnn Hepburn encouraged us to get out of our comfort zones by using manipulatives, student partner learning, and ukuleles in the elementary music classroom. Also, music teacher educator, Dr. Morgan Soja, from Samford University taught about using music activities to connect with ELA standards.
Your AMEA elementary division leaders worked tirelessly to ensure that this conference was one to remember. I think we can all say we left the BJCC and returned home with heads full of ideas and hearts full of enthusiasm about elementary music education in Alabama.
Jordan Ford Alabama Orchestra Association
AOA is AWESOME
There is nothing quite like the AMEA Conference to bring music educators together. AOA, as always, took full advantage of this time together to learn and grow in our craft. Our featured clinician this year was Dr. Brenda Brenner, string music education faculty at the University of Indiana, Jacobs School of Music. Her sessions reminded us that we are teaching children we need to set them up for success at their level, especially within the difficult instruments we teach. A highlight was learning how to make theory AWESOME and applicable for string students of all ages. AOA also had other presenters focusing on conducting, technology in the rehearsal space, and error detection. For the first time in many years, AOA was honored to exhibit a string orchestra in concert: the Northridge Middle School String Orchestra, conducted by Trey Hedgemon. We hope this performance encourages orchestras from across the state to apply to perform at AMEA at future concerts. AOA continued its tradition of performing in a Lobby Concert after the Keynote Address. This performance was conducted and coordinated by Keith LaBenne (AOA President-Elect).
We would be remiss to not mention an honor bestowed on AOA member Dr. Anne Witt. Dr. Witt was recognized at the Friday evening awards ceremony for 60 years of membership to NAfME. Many educators in the state of Alabama and the USA owe their teaching knowledge to Dr. Witt. The world of music education would be a very different place without her. Congratulations, Dr. Witt. We are so lucky to have you in the state of
Alabama.
As in years past, we concluded our time together at AMEA with a sight-reading session of music graciously provided by J.W. Pepper. Not only does it allow our string educators a chance to hear and play newly composed works, but it also provides another chance for fellowship and fun for our members. We share stories, trade instruments to play different parts and take turns conducting, allowing everyone a chance at some fun. This session provides a small look at what AMEA offers to every music educator in Alabama. Not only a chance to be reminded of our why and how, but a chance to be with others like ourselves. In the case of AOA, we are so spread across the state, that this is often the only opportunity we have to convene in this way without the responsibility of running an event. AOA is so grateful to the AMEA board for organizing this event and allowing AOA to take part.
Looking to the future, AOA is very excited about our upcoming events. In February, we will host the All-State Orchestra Festival on the campus of the University of Alabama in Tuscaloosa. We have three fabulous clinicians who have selected three rigorous and fun programs for our students.
Festival Orchestra – Doug Droste, Baldwin Wallace University Conservatory of Music
Lightspeed, Kevin Day
Our Town, Aaron Copland
Symphony No. 4, mvt. 3&4, P.I. Tchaikovsky
Sinfonia – Dr. Timothy Heath, Wake Forest University Procession of the Nobles, Rimsky-Korsakoff
Water Reflections, Yukiko Nishimura Finlandia, Sibelius
Consort String Orchestra –Matthew Nix, New Trier High School
Symphony No. 52, Allegro assai con brio, Haydn arr. McBrien Orchid, Yukiko Nishimura
Symphony No. 2, mvt. 2, Mahler arr. Lipton
Swamp Thang, Richard Meyer
On April 4, AOA will host the Orchestra Music Performance Assessment at Thompson High School. Registration will be on the AOA website.
Finally, we are so glad to announce that the Region Orchestra events originally scheduled in January will be rescheduled for May 24-25. North Region will be relocated to Huntsville High School. South Region will be relocated to Greenville High School. Please continue to check the website for new details.
AOA hopes to continue to grow and support Alabama in creating more orchestral opportunities across the
state. We would be nowhere without the support of its members, AOA, and the student musicians of Alabama.
Continually grateful, Jordan Kirchner Ford President, Alabama Orchestra Association
AMEA PRESIDENTS - PAST TO PRESENT
1946 Yale H. Ellis 1948 Walter A. Mason
Vernon Skoog 1952 John J. Hoover 1954 Lamar Triplett
1956 Carleton K. Butler
1958 Mort Glosser
1960 Wilbur Hinton
1962 Lacey Powell, Jr.
1964 G. Truman Welch
1966 Jerry Countryman
1968 Floyd C. McClure
1970 Jerry Bobo
1972 Frances P. Moss
1974 George Hammett 1975 Frances P. Moss
S. J. Allen 1978 W. Frank McArthur 1980 Paul Hall 1982 Lacey Powell, Jr.
Johnny Jacobs 1986 Merilyn Jones 1988 Ronald D. Hooten
Ken Williams
Dianne Johnson
James K. Simpson 1996 Johnnie Vinson 1998 Michael Meeks 2000 John McAphee, Jr.
Tony Pike
Becky Rodgers 2006 John Baker 2008 Pat Stegall 2010 Steve McLendon 2012 Sara Womack 2014 Carl Hancock 2016 Susan Smith 2018 Greg Gumina
2020 David Raney
2022 Rob Lyda
2024 Phil Wilson
Stephen Foster Higher Education
A Review of the 2025 AMEA Conference from the Higher Education Division Perspective
In a word, “WOW”. What an exciting experience for everyone at the 2025 AMEA Professional Development Conference. From the first session to the last, there was so much quality and timely information shared. It was so great to see so many collegiate members taking advantage of the sessions and learning opportunities throughout the conference. They were excited to be there and were very friendly when asked where they were from and what they had learned in their sessions. These cNAfME members are the future of our profession, eager to take the reins of our music programs. The HED Luncheon was also well attended. The fellowship with our higher education colleagues was very refreshing and enlightening. One of the discussions during the business section of the luncheon was about where we, as the Higher Education Division, envision ourselves in the future of AMEA. What do the higher education population in Alabama want from our organization and how can we better serve them? There is a simple questionnaire that they were asked to fill out to help us define this coming year and our involvement in the 2026 AMEA Professional Development Conference. If you are in higher education, I would encourage and invite you to also answer the questionnaire. As an educator in higher education working
with students who will be the future music educators, it is important that we collaborate to further and better the preparation we are offering our students. Please scan this QR code and answer the questions. I also encourage you to become a part of AMEA if you are not currently, not only for yourselves, but for your students.
It is also great to see our leadership so open and friendly and willing to give their time to our membership as well as our students to encourage them in their endeavors and pursuit of a career in music. The students that came to the conference with me were excited to be able to meet with and talk with some of the leadership during the supper break on Thursday night.
The keynote was a great highlight of the conference. Dr. Tim Lautzenheiser had a great message that I think we can all relate to. The special performance by the Aeolians of Oakwood University after the keynote was also a treat.
The Faculty/Student Showcase Recital was also phenomenal. If you missed it you really missed some very talented performers providing an outstanding showcase. There were also many talented
school groups that performed at various venues throughout the conference. This year’s conference was one to remember. If you didn’t have the opportunity to attend this year’s conference I hope you make plans to attend next year. The opportunities to learn and grow are abundant. The talent and professionalism of the presenters, as well as their knowledge and preparation, is outstanding. The refresh that you receive from all the events and performances is absolutely well worth the time and effort to attend.
Two quotes I heard at this conference, “None of us is as smart as all of us”, a quote attributed to Ken Blanchard, and “The way you do anything is the way you do everything” are both great ideals and a great way to describe the value of the AMEA Professional Development Conference. Learning is a life-long endeavor. Taking advantage of every opportunity we have to learn gives us a decided advantage in our craft. I want to express my thanks to all who made this possible. I leave you with one last quote from Leonard Bernstein. “Music, because of its specific and far-reaching metaphorical powers, can name the unnameable and communicate the unknowable.”
Events
For Middle & High School Students
Sept. 24, 2024 Festival of Voices
Oct. 13, 2024 Flute Day
Nov. 2, 2024
Dec. 7, 2024
Single Reed Symposium
All-State Band Clinic
Jan. 28, 2025 ChoralFest!25
Feb. 21-22, 2025
March 7-9, 2025
On-campus auditions for scholarships
Feb. 15, 2025
March 8, 2025
Middle School Honor Band
High School Honor Band
Honor Band participants only March 15, 2025
Scan the QR code to learn more
Virtual auditions available upon request. For more information, visit montevallo.edu/music/auditions.
Amanda Slay Alabama Vocal Association
Let’s Finish Strong!
In my last article, I compared the school year to a marathon. I have never run in a marathon. I don’t run unless something life-threatening is chasing me. However, I do know a thing or two about pacing and January is most often the biggest hill to climb for the year. If you are reading this, then you made it! Congratulations! Now, let’s catch our breath and sprint to the end knowing all our hard work has paid off.
AMEA Conference
The AMEA conference was the perfect place to catch your breath this year. I was encouraged and reinvigorated by every session and concert I attended and have heard similar sentiments from many of you. From Dr. Francis Cathlina’s mini-course in vocal pedagogy to Dr. Morgan Luttig’s(University of Alabama) session on thematic concert programming; there was something for everyone to glean and apply to their everyday teaching. Bravo to all session presenters and conductors for making AMEA a huge success!
I’d like to extend a special thank you to several AVA members for their service at AMEA this year. Thank you to
Harris Gessner(James Clemens HS) and the Jet Choir for serving as the demo choir for two sessions. What a wonderful group of students! Thank you to Brent Coleman(Pizitz MS), Zoe Griffin(Northside MS and HS), Stacey Owens(Athens MS), and Judy Ransom(The Alberta School of Performing Arts) for volunteering to participate in the conducting masterclass. Thank you to Harrison Hornsby(Springville MS and HS) for serving as our session accompanist. Thank you to Dr. Megan Rudolph for collaborating with AVA to organize and execute the first AVA Adjudicator Training session. We are grateful for her perspective and expertise as we start to integrate this training into our organization. Lastly, thank you to the AVA Governing Board for their continued work and to all members who attended the AMEA conference this year. It is easy to forget that we are part of a large network of music educators “rowing the boat” of music education in our state. AMEA is a great time to remember that you do not “row” alone. It takes all of us and we are stronger together.
Next year’s conference will be held January 22-24, 2026 at the Birmingham Jefferson Convention Complex(BJCC). Add it to your calendar now and make plans to attend. If you have suggestions for clinicians or topics you
would like to see presented at future AMEA conferences, please be in contact with me or your District Chair to share your ideas. In addition, consider submitting your choir to perform at AMEA. The deadline for concert performance submissions will be June 1st. You can also look for more details in future AMEA eNewsletters and the AMEA website.
Sight-Singing and the All-State Audition Process
Last year a committee, led by Heather Cantwell (Liberty Park MS), gathered information to aid in addressing two important topics, shortening the All-State audition process and the addition of a sight-singing component. The goals of this committee were as follows:
○ Shorten the amount of time students are in the room for the audition
○ Explore adding a sight-reading component to the audition
○ Shorten the number of days judges are away from their own classes for auditions
○ Keep the integrity and rigor of the audition at a high level
○ Keep auditions consistent throughout the state
In addition to consulting the AVA Bylaws and Standing Rules and All-State schedules from previous years, a survey was sent to the AVA membership called, “All-State Audition Restructuring”. This survey sought feedback and suggestions to address the aforementioned goals. By reducing the number of songs students are expected to sing in the audition room, this committee, combined with the AVA Governing Board, has successfully addressed the issue of shortening the time students spend in the audition room.
The AVA Governing Board intends to develop a detailed plan for the implementation of a sight-singing
component to the All-State audition process. The board will take up this task during our annual Summer Board meeting in June. We will present this plan to the membership at the Fall Workshop in September to be discussed and subsequently voted on at AMEA 2026.
What do we need now? YOU! Only 11 members filled out the survey that was sent last year in regards to the addition of sight-singing to the All-State audition. Your suggestions and experience are crucial to the development of this component and we cannot do it without the voices of our membership. The same survey will be sent this year to all members. Please take the time to give us your feedback. This is a topic we are all rightly very passionate about. By listening to one another we will create a process that is efficient and equitable and enhances learning experiences for all students. In the midst of an endeavor like this one, we must be driven by the mission of our organization. We look forward to hearing your thoughts and ideas.
The mission of the Alabama Vocal Association is to provide a variety of educational experiences for students that will encourage their lifetime appreciation of and participation in the art of choral music.
Finish Strong!
I wish you all good luck and godspeed as you execute Spring trips, show choir competitions, State Choral Performance Assessments, Spring musicals, and end-of-year concerts. Be intentional. Be present. Be rested, clear of mind, and focused for it all. The last day of school will be here in the blink of an eye. Please reach out if you need assistance or have questions.
Amanda Slay, AVA President amanda.slay.ava@gmail.com
2025 All-State Choral Festival Clinicians
HS SATB
Gary Packwood is a distinguished figure recognized for his inspirational and motivational contributions as a conductor, pedagogue, and lecturer. His influence has reached audiences across North and South America, Europe, and Asia, showcasing his global impact in the realm of music education. Dr. Packwood’s extensive teaching career spans over 30 years, marked by notable engagements conducting all-state and honor choirs, as well as leading large festival choirs across the United States. His leadership as the director of choral studies has left an indelible mark on schools in Alabama, Louisiana, Florida, and Mississippi. n addition to his prowess as a conductor and educator, Dr. Packwood is an active composer with a notable presence in the choral music scene. A lifetime member of the ACDA (American Choral Directors Association), Dr. Packwood has served in leadership roles, including the presidency of the Southern Region of the ACDA. This attests to his commitment to the professional development and advancement of choral music on a regional and national level. His enduring impact on the world of choral music resonates through his multifaceted contributions and unwavering commitment to musical excellence.
HS SSAA
Dr. Joni Jensen is the Director of Choral Activities and Associate Professor of Voice at Texas Woman’s University (Denton, TX). She conducts three choirs and teaches voice, conducting, vocal pedagogy, and graduate art song literature. She received her Bachelor’s degree in vocal performance and pedagogy and her Master’s degree in choral conducting from Brigham Young University in Provo, UT. She received her DMA in choral conducting, minor in vocal performance, at the University of Arizona. Dr. Jensen has conducted numerous festival and community choirs and serves as a choral clinician and adjudicator throughout the United States. Active as a composer/arranger, her most recent pieces “El Vito” and “I Got a Key” are published by Walton Music. Singing in a solo capacity has also been a large part of Dr. Jensen’s career. Aside from her performing and teaching activities, Dr. Jensen has research interests in vocal pedagogy in the choral setting, choral conducting technique, women’s chorus literature, choral arranging, and the choral music of Vaughan Williams, Britten, and Bach.
of Choral Activities and Assistant Professor of Music at the University of Wyoming. At UW, he leads a program of six choral ensembles, including the Collegiate Chorale, Singing Statesmen, and Happy Jacks. In 2024 the UW Singing Statesmen gave invited performances for the Wyoming Music Educators Association and the Northwestern American Choral Directors Association. Dr. Murray earned his Doctor of Musical Arts degree in choral conducting at the University of North Texas, studying with Drs. Allen Hightower, Jessica Nápoles, Richard Sparks, and Kristina MacMullen. Before beginning his doctoral coursework, Dr. Murray taught high school choir for seven years in Carrollton, Texas. He received a Master of Music Education degree from the Florida State University and a Bachelor of Music degree in choral music education, summa cum laude, from the University of North Texas. Dr. Murray has presented interest sessions for state, divisional, and international choral conferences and he has published in ChorTeach and the Choral Journal. He is a frequent clinician, adjudicator, and guest conductor, and his professional affiliations include ACDA, NAfME, TMEA, WMEA, and Pi Kappa Lambda.
MS Mixed
Victor C. Johnson is a native of Dallas, Texas, and is in his seventeenth year of teaching at the Ft. Worth Academy of Fine Arts (FWAFA). At FWAFA, Victor serves as the director of the Academy Singers, Academy Men’s Choir, and Artistic Director of the Singing Girls of Texas. He attended the University of Texas at Arlington and majored in music education with a concentration in organ. While attending UTA, he served as student conductor of the university’s choral ensembles and opera workshop accompanist. As a composer, Victor has won numerous composition contests and has received ASCAP Awards for the past 15 years. His first piece was published in 1994, while he was a sophomore in high school. To date, he has over 300 octavos and choral products in the catalogs of Heritage Music Press, The Lorenz Corporation, Chorister’s Guild, Alfred Music, Shawnee Press, and Hal Leonard Corporation. His choirs have performed at the Texas Music Educators Association Convention in 2011 and 2014 as well as the American Choral Directors Association- Southwest Division conference in March 2016.His professional affiliations include: American Choral Directors Association, Texas Music Educators Association, National Association for Music Education, Texas Choral Directors Association, ASCAP, and Phi Mu Alpha Sinfonia, Inc.
MS Treble
Sophia Miller is the Associate Conductor of the Young People’s Chorus of New York City and the principal conductor of YPC’s Prelude
HS TTBB
Brian C. Murray is the Director
division. Since 2007, she has conducted and prepared young people from 8 to 18 in all YPC divisions for performances in the city’s most prestigious venues, on international tours, as well as in recording sessions and for radio and TV appearances. Sophia is also the associate director of YPC National, which supports and inspires youth choruses and choral conductors nationwide, as well as the creative director for the Foundation
for Small Voices, a not-for-profit organization that brings choral, songwriting, and mentorship programs to children around the world. As a widely sought-after guest conductor and choral clinician, in addition, Sophia most recently brought her expertise to singers in Spain and the UK. Sophia is a magna cum laude graduate of the Ithaca College School of Music.
2025 All-State Choral Festival Schedule
Thursday, April 3, 2025
12:15-12:45pm Student Registration in Assigned Rehearsal Rooms
8:30-9:45am MS Treble Rehearsal, North Meeting Rooms G-I
MS Mixed Dress Rehearsal, Concert Hall
HS SSA, Forum A-B
HS TTBB, Forum Theater
HS SATB, Forum G-I
8:45-9:45am AVA General Membership Meeting, North Meeting Rooms C-E
10:00-11:15am MS Mixed Rehearsal, North Meeting Rooms C-E
MS Treble Dress Rehearsal, Concert Hall
HS SSA, Forum A-B (cont.)
HS TTBB, Forum Theater (cont.)
HS SATB, Forum G-I (cont.)
11:15am-1:15pm Lunch Break
1:15-2:15pm Convocation, Concert Hall
2:30-4:15pm MS Treble, North Meeting Rooms G-I (final MS rehearsal)
MS Mixed, North Meeting Rooms C-E (final MS rehearsal)
SSA Rehearsal, Forum A-B
TTBB Rehearsal, Forum Theater
SATB Dress Rehearsal, Concert Hall
4:30-6:00pm SSA Dress Rehearsal,
TTBB Rehearsal, Forum Theater (cont.)
SATB Rehearsal, Forum G-I
7:00pm Call Time for Middle School Concert
7:30pm Middle School Concert, BJCC Concert Hall
Saturday, April 5, 2025
9:45-11:15am SSA Warm-up Forum A-B
TTBB Dress Rehearsal, Concert Hall
SATB Warm-Up, Forum G-I
11:15am Doors Open to Audience
12:00pm High School Concert
Lori Hart Alabama Bandmasters Association
IMPACT= INFLUENCE= RESPONSIBILITY
AMEA Conference
What an incredible AMEA Professional Development Conference we had! The excitement in the air was contagious! I believe we all had a deeper sense of appreciation this year because of last year’s cancellation. I am so appreciative of the AMEA Board, and especially the ABA Board, for all of the work they put into making this year a resounding success. Congratulations again to all of the performing groups; Bumpus MS Jazz and Percussion Ensemble, Pizitz MS Honor Band, Fairhope HS Wind Ensemble, Grissom HS Symphonic Band, Thompson HS Wind Ensemble, Tuscaloosa County HS Percussion Ensemble, and the Jacksonville State University Brass Band.
One of the many highlights of the conference was the keynote address by Dr. Tim Lautzenheiser and his message of how band directors have a tremendous impact on our students. We, as band directors, hold a unique and powerful role in shaping the lives of our students. Our influence extends beyond the notes played in a classroom, it creates ripples that can inspire, encourage, and transform young people for a lifetime. It is a responsibility that we must embrace and respect for the well-being of each child we teach. As you move forward
into the second semester, be mindful of this impact and let it guide you in your daily work.
ABA Election
We had an outstanding slate of candidates and I want to congratulate the newly elected officers President-Elect Dr. Gene Butler, Recording Secretary Mr. William Mixon, and Jazz Education ChairmanElect Mr. James Crumb, Jr. I know they will serve our organization well. The Proposed Legislation 2025 results are: Proposal 25.1 Passed Proposal 25.2 Passed.
ABA MPA
Moving forward we have many programs that are preparing for our State Music Performance Assessment. Please make sure you are using the Cumulative List (Searchable) on the website, for the most up-to-date list to choose your list piece. Also, take a moment to look at the Sightreading guidelines, the new adjudication sheets, and other general information that is also available on our website.
ABA Jazz MPA
Another upcoming event for ABA is our Jazz Music Performance Assessment. The Jazz MPA Registration is now
open in the Members Area of alaband. org. The dates this year are Thursday, April 17, 2025, hosted by Thompson HS, and Monday, April 21, 2025, at the Alabama Center for the Arts in Decatur. All information about the classification of bands, expectations, and the rubric are also posted on the website under the Jazz Division tab.
ABA All-State Band and Solo Festival
I am extremely excited about the 2025 All-State Band and Solo Festival. I encourage your students to participate in the Solo Festival. It is such a wonderful opportunity for musical growth! We are fortunate to have five incredible conductors for our All-State Bands this year Mr. Eugene Corporon will serve as our Red Band Conductor, and Mr. Randall D. Standridge will be our White Band Conductor. Dr. Peter Boonshaft will conduct the Blue Band, Dr. Mary Land and Mr. William Owens will conduct the Middle School Bands. We will present a series of clinics on Friday, April 11th, and I know everyone will benefit from the knowledge and inspiration that will be shared with us. We also have great exhibits to keep everyone engaged in all things Band! Let’s work together to make the 2025 All-State Band Festival impactful, influential, and responsible on all levels! See you in Mobile!
2025 ALL-STATE BAND FESTIVAL
April 9, 2025 Solo Festival – Outlaw Convention Center
April 10-12, 2025 All State Band Festival, Outlaw Convention Center and Renaissance Mobile.
ABA Office 202A
Wednesday, April 9
Solo Festival,
Solo Finalist Warm Times (Closed) Grand Ballroom 3:00 -6:20 pm
State Solo Festival Finals Concert Grand Ballroom 7:00 pm (Doors open 6:30 pm)
State Solo Finalist Holding Room 201C & D 6:30 pm
Band Hosts Meeting 202A 9:00 pm
Thursday, April 10
Clinician Meet and Greet President’s Suite 11:00 am (invitation only)
Concourse EXHIBITS OPEN 1:00 pm-4:00 pm/6:00-8:00 pm
ALL-STATE BAND REHEARSALS (CLOSED)
Red Band Moonlight Ballroom (Battlehouse) 3:00-5:00/7:00-9:00 pm
White Band Bon Secour Ballroom (Renaissance) 3:00-5:00/7:00-9:00 pm
Blue Band Grand Ballroom (Outlaw Center) 3:00-5:00/7:00-9:00 pm
Red Middle School Band 203 A & B 204 A & B 3:00-5:00/7:00-9:00 pm
White Middle School Band 201 A, B, C & D 3:00-5:00/7:00-9:00 pm
ABA Board Jubilee Suite (Renaissance) 7:00-9:00 pm CURFEW FOR ALL PARTICIPANTS - 11:00 PM
Friday, April 11
Concourse EXHIBITS OPEN 10:00 am - 12:00 pm/2:00-5:00 pm
ALL-STATE BAND REHEARSALS
Red Band Moonlight Ballroom (Battlehouse) 8:30 am -12:00 pm/2:00-5:30 pm
White Band Bon Secour Ballroom (Renaissance) 8:30 am -12:00 pm/2:00-5:30 pm
Blue Band Grand Ballroom (Outlaw Center) 8:30 am -12:00 pm/2:00-5:30 pm
Red MS Band 203 A & B 204 A & B 8:30 am -12:00 pm/2:00-5:30 pm
White MS Band 201 A, B, C & D 8:30 am -12:00 pm/2:00-5:30 pm
ABA General Business meeting 106 A & B, 107 A & B 9:00 -10:00 am
Clinic -TBA
106 A & B, 107 A & B 10:15-11:45 am
Phi Beta Mu Luncheon Harbour Room (Renaissance) 12:00-1:00 pm
Clinic -TBA
106 A & B, 107 A & B 2:15-3:45 pm
CURFEW FOR ALL PARTICIPANTS - 11:00 pm
Saturday, April 12
ABA Board Meeting 2 201 A, B, C, D 7:30-8:00 am
ABA General Business Meeting 2 201 A, B, C, D 8:00-9:00 am
Instrument Case Storage/First Chair Picture 106 A & B, 107 A & B
Concourse EXHIBITS OPEN 9:00am - 3:00 pm
HIGH SCHOOL BAND REHEARSALS GRAND BALLROOM
Blue Band Rehearsal Grand Ballroom 9:00-9:45 am
White Band Rehearsal Grand Ballroom 10:40-11:20 am
Red Band Rehearsal Grand Ballroom 12:00-12:45 pm
CONCERT DAY SCHEDULE SOUTH EXHIBIT HALL
White MS Band Warm Up: 9:30-9:50 am Concert: 10:00 am
Red MS Band Warm Up: 11:00-11:20 am Concert: 11:30 am
Blue Band Warm Up: 12:30-12:50 pm Concert: 1:00 pm
White Band Warm Up: 2:00-2:20 pm Concert 2:30 pm
Red Band Warm Up: 3:30-3:50 pm Concert 4:00 pm
ALL STATE SOLO FEST FINALIST ANNOUNCEMENT 3:55 pm
Red Band Concert South Exhibit Hall 4:00 pm
2025 All-State Band Clinicians
RED BAND - Eugene Corporon
Eugene Migliaro Corporon is the conductor of the Wind Symphony and Regents Professor of Music at the University of North Texas. As director of wind studies he guides all aspects of the program, including the masters and doctoral degrees in wind conducting. Mr. Corporon is a graduate of California State University, Long Beach and Claremont Graduate University. His performances have drawn praise from colleagues, composers, connoisseurs and music critics alike. Professor Corporon’s career, which spans six decades, began in 1969 as director of instrumental music at Mt. Miguel High School in Spring Valley, California. Mr. Corporon maintains an active guest-conducting schedule and is in demand as a conductor and teacher throughout the world. He is past president of the College Band Directors National Association and a past member of the World Association for Symphonic Bands and Ensembles International Board. He has been honored by the American Bandmasters Association and by Phi Beta Mu with invitations to membership. Mr. Corporon, a frequent guest conductor at the Showa University of Music in Kawasaki City, Japan, has also served as a visiting conductor at the Juilliard School, the Manhattan School of Music, Interlochen World Center for Arts Education and the Aspen Music Festival and School. He is the music director and conductor of the Lone Star Wind Orchestra, a professional group of passionate and committed musicians from the Dallas/Fort Worth/Denton/ metroplex. Having recorded over 1000 works, including many premieres and commissions, his groups have released 300 plus recordings and videos on the GIA, Toshiba/EMI, Klavier, Mark, CAFUA, Donemus, Soundmark, Albany, Naxos, and Centaur labels. These recordings, three of which have appeared on the Grammy nomination long ballot, are aired regularly on radio broadcasts throughout Asia, Europe, and the Americas. They are available on the Eugene Migliaro Corporon YouTube Channel (https://www.youtube. com/@EugeneMCorporon.) The collective recordings with the North Texas Wind Symphony, Cincinnati Wind Symphony, Showa Wind Symphony and Lone Star Wind Orchestra have garnered more than 15 million hits worldwide on sites such as YouTube, Pandora and Spotify. His GIA audio and video digital releases are distributed by NAXOS. They include the WindWorks Series, Composer’s Collection and Teaching Music Through Performance in Band Resource Recordings.
WHITE BAND - Randall Standridge
Randall Standridge (b.1976) received his Bachelor’s of Music Education from Arkansas State University. During this time, he studied composition with Dr. Tom O’Connor,
before returning to Arkansas State University to earn his Master’s in Music Composition, studying with Dr. Tom O’Connor and Dr. Tim Crist. In 2001, he began his tenure as Director of Bands at Harrisburg High School in Harrisburg, Arkansas. He left this post in 2013 to pursue a career as a full-time composer and marching arts designer. Mr. Standridge’s music is performed internationally. He has had numerous works selected for the J.W. Pepper’s editor’s choice. His compositions Snake Charmer, Gently Blows the Summer Wind, and Angelic Celebrations have been included in the “Teaching Music Through Performance in Band” series. He has had numerous works performed at the prestigious Midwest Clinic in Chicago, Illinois. The Arkansas State University Wind Ensemble premiered his work Art(isms) at the 2010 CBDNA conference in Las Cruces, New Mexico, and his work Stonewall: 1969 was premiered at the National LGBA conference in 2019. His Symphony no.1: A Ghost Story was premiered in 2023. In addition, Mr. Standridge’s “unBroken Project,” a musical initiative about mental health, has received widespread acclaim for its musical content and for providing opportunities to normalize discussions about mental health for music students and audiences worldwide. In addition to his career as a composer, Mr. Standridge is the owner and editor of Randall Standridge Music, LLC and Grand Mesa Marching. He is in demand as an arranger/designer for the marching arts. He lives in Jonesboro, Arkansas, with his husband, Steven, and their very, very spoiled pets.
BLUE BAND - Dr. Peter LoeL Boonshaft
Called one of the most exciting and exhilarating voices in music education today, Peter Loel Boonshaft has been invited to speak and conduct in every state in the nation and around the world. Honored by the National Association for Music Education and Music For All as the first recipient of the “George M. Parks Award for Leadership in Music Education,” Dr. Boonshaft is Director of Education for Jupiter Band Instruments. Dr. Boonshaft is the author of the critically acclaimed best-selling books Teaching Music with Passion, Teaching Music with Purpose, and Teaching Music with Promise, as well as his first book for teachers of other disciplines, Teaching with Passion, Purpose and Promise. He is also co-author of Alfred Music Publishing’s method book series Sound Innovations. As well, his weekly “Boonshaft’s Blog” for music educators continues to inspire teachers everywhere. He has received official proclamations from the Governors of five states and a Certificate of Appreciation from former President Ronald Reagan, as well as performing for former President and Mrs. George H. W. Bush, former President Bill Clinton, and for Margaret Thatcher, former Prime Minister of the United Kingdom. Extremely active as a guest conductor, clinician and speaker for conferences, festivals, concerts and workshops nationally and internationally, he has guest conducted the NAfME (The National Association for Music Education) National High School Honors Band, NAfME All-Eastern Band,
NAfME All-Northwest Band, NAfME All-Eastern Directors Band, Goldman Memorial Band, and the Association of Concert Bands National Conference Band. In addition, he is an adjudicator and clinician for the Music For All/Bands of America National Concert Band Festival, and serves as Chief Adjudicator for the Australian School Band and Orchestra Festival. He has served as keynote speaker for the NAfME Northwest Division Conference, NAfME Southern Division Conference, European Music Educators Convention, National Convention of the American String Teachers Association, National Convention of the American School Band Directors Association, ACDA Western Division Conference, East Asia Regional Council of Schools, Maryborough Music Conference of Australia, International Music Education Summit, National Conference of the Organization of American Kodály Educators, The Sydney (Australia) Music Education Conference, and numerous international, national, state and regional music education conferences.
MIDDLE SCHOOL RED BAND -
Dr. Mary Land
Dr. Mary Land is Associate Professor of Music and Director of Instrumental Music Education at Western Michigan University in Kalamazoo, Michigan. She conducts the University Concert Band and teaches courses in instrumental music education. Prior to this position, she was Director of Bands and Instrumental Music Education at Young Harris College in Young Harris, Georgia. Before moving to higher education, Dr. Land was a public-school band director in Georgia for over twenty-five years where she developed an outstanding band program in Pickens County, Georgia. Bands under Mary Land’s direction have received invitations to perform at numerous music conferences and clinics. Dr. Land has served as the President of the Georgia Music Educators Association and the state of Georgia’s CNAfME chair. In Michigan, Dr. Land has served as the National Band Association state chair and the Michigan Music Education Association’s CNAfME chair. Dr. Land serves on the Board of Directors for the Midwest International Band and Orchestra Clinic and is a member of the Zeta Chapter of Phi Beta Mu International Bandmasters Fraternity. Dr. Land is also on the faculty of the prestigious Interlochen Arts Camp as the conductor of the Intermediate Wind Symphony. Dr. Land is an active adjudicator, conductor, and clinician throughout the United States and serves as a clinician for the Conn Selmer Division of Education. Her professional affiliations include: MSBOA, NAfME, IAJE, CBDNA, Pi Kappa Lambda American Honor Society (for students and professors of music), and Delta Kappa Gamma Society International Professional Teacher Association. Dr. Land is also a member of the National Band Association (NBA) and has served as a national representative on the NBA Executive Board of Directors. She was recently awarded The Distinguished Alumni Award from the Vandercook College of Music. Many issues of The Instrumentalist magazine have featured Dr. Land, discussing her teaching techniques, her band program in the public schools, and her band program at
Young Harris College. She has been presented the National Band Association Citation of Excellence on twelve separate occasions and has been presented the Women Band Directors International Scroll of Excellence five times. Dr. Land was awarded the GMEA Music Educator of the Year Award in 2012 and was presented with the John Philip Sousa Foundation Legion of Honor Award at the 2012 Midwest Band and Orchestra Clinic for her contributions to music education. Mary Land was selected by the national publication School Band and Orchestra in their December 2013 issue as one of “50 Directors Who Make a Difference”. Dr. Land’s band program at Pickens County Middle School (PCMS) was the recipient of the Georgia Senate Resolution 212 commending its success. Additionally, under her direction, the PCMS Band was the recipient of the Magna Cum Laude Award, a prestigious international award for middle school bands. Dr. Land is the coauthor of the GIA instrumental music education textbook, Habits of a Successful Music Education Student. She is also the author of the newly published GIA book, The Value of Music Connections. She is published in the National Band Association Journal, The Instrumentalist, Teaching Music (NAfME), the School Band and Orchestra Magazine, and the GIA series Teaching Music Through Performance in Band. Commissioning projects include works by Sam Hazo, Bill Locklear, Barry Kopetz, and Christopher Tucker.
MIDDLE SCHOOL WHITE BAND - William Owens
William Owens (b. 1963) is a native of Gary, Indiana. A seasoned music educator, he is highly active as a composer, clinician and conductor throughout North America. His compositional style for young ensembles displays a keen, practical approach which has firmly established him as a leader in the field. Since 1993, Mr. Owens has over 300 titles to his credit for concert band, string orchestra and small ensemble. His music is performed and appears on required music lists nationally and abroad. Many of his works have been analyzed in educational text, and are staples of the young band repertoire. William is a 1985 graduate of Chicago’s VanderCook College of Music and the recipient of numerous awards and grants for composition. Principal commissions include those from the South Plains College (TX) Department of Fine Arts, Phi Beta Mu International and the American Bandmasters Association. Professional memberships include the American Society of Composers Authors and Publishers (ASCAP), the Texas Music Educators Association (TMEA), the Association of Texas Small School Bands (ATSSB) and Phi Beta Mu International Bandmasters Fraternity. He is recognized as a Distinguished Alumnus by his alma mater, and a recipient of the Texas Bandmasters Association’s Meritorious Achievement Award. In 2014, William formally retired from duty as band director in Texas after 30 years of service. His spare time interests include traveling and being a proud Chevrolet Corvette owner/enthusiast. William resides in Fort Worth, TX with his wife and best friend, Georgia.
Dr. Meghan Merciers
cNAfME Advisor
JP Aufdemorte cNAfME President
Welcome Our New Collegiate Executive Board!
We hope everyone had an inspiring time at the 2025 AMEA Professional Development Conference! It provided many opportunities to learn and connect with others in the profession, and this is especially true for Collegiates. Whether we were attending a session or talking to a mentor in the halls, we were constantly learning. In particular, this conference was truly special for making connections, thanks to a concerted effort from the AMEA membership to help us feel welcome! Below are some impactful moments that some of our Collegiates experienced at the conference.
During the conference, we held our annual luncheon. At the luncheon, our division heard about the Country Music Association grant program from AMEA President Dr. Phil Wilson, PastPresident Dr. Rob Lyda, and AMEA Hall-of-Famer Dr. Diane Orlofsky. We had special guests join us from Miles College, received free leadership books from Dr. Tim Lautzenheiser, and voted on our 2025 executive board. We were overjoyed to have several chapters join us, including Alabama A&M University, Alabama State University, Auburn University, Faulkner University, Jacksonville State University, Samford University, Talladega College, Troy University, University of Alabama,
University of Alabama-Birmingham, University of Mobile (virtual), and University of North Alabama.
Here is your 2025 Collegiate Executive Board:
President: JP Aufdemorte
JP Aufdemorte is a Junior Music Education Major at The University of Alabama (UA). At UA, he is a member of the Tuba and Euphonium Studio and is active in the School of Music community. He serves as the Vice President of Service for the Nu Nu chapter of Kappa Kappa Psi National Honorary Band Fraternity and as a baritone section leader of the Million Dollar Band. He is excited to serve the
collegiate division by providing them extra opportunities for learning and collaboration with their peers from across the state.
Vice-President/President-Elect: Sarah Beth Black
Hello! My name is Sarah Beth Black, and I will be serving as the next Vice President/President-Elect for the ALcNAfME executive board. I am a sophomore music education major at the University of Alabama, and I play tuba in the UA Tuba and Euphonium studio. Throughout my time as a music student, I’ve grown to understand and appreciate the music educators in my life even more than I did before
college. Because of the impact these people had on my life, I knew I had to continue with music and work to help impact others’ lives. By serving as Vice President, I believe I can play a pivotal role in helping collegiate educators connect and help each other throughout their degree. We have the opportunity to empower. We, as music educators, can make a meaningful impact on the future of music education.
Secretary: Julia Wright
Hello, Alabama! My name is Julia Wright, and I’m thrilled to serve as the Secretary for cNAfME of Alabama this year. I’m currently a junior at Auburn University, where I’m studying Music Education with a minor in Graphic and Industrial Design processes. I’m actively involved on campus, participating in several ensembles, serving as the Corresponding Secretary for the Theta Lambda chapter of Tau Beta Sigma, and being a member of Alpha Omicron Pi. Additionally, I’m proud to serve as the trumpet section leader for the Auburn University Marching Band. I’m excited to serve on the board by combining my passion for music education with my love for social media and graphic design.
Treasurer: Justin Douglas
Justin M. Douglas is a junior studying Music Composition/Technology at Auburn University and plans to work
as a church music director after school.
As an educator, Justin wants to foster universal musicality throughout a community and focus on a lifetime
appreciation of all arts and culture. I am excited to participate in the collegiate board of C-NAfME in Alabama to build a connection with other schools and students in our shared goals.
As a board, we are already planning monthly statewide virtual meetings and communications, setting up an advisory council, and working on a vision for the Collegiate Summit in the fall. We look forward to serving you! Please follow us on Instagram: @cnafme_al.
cNAfME Board - Past and Present Sarah Beth Black (President-Elect), JP Aufdemorte (President), Cameron Johnson (Past Secretary), Reid Sayle (Past Treasurer), Meghan Merciers (Collegiate Advisor), Justin Douglas (Treasurer), and Julia Wright (Secretary)
AMEA Awards
All award recipients are accompanied by AMEA President Dr. Phil Wilson and Immediate Past President Dr. Rob Lyda
Hall of Fame Recipient Dr Carl Hancock
Eleanor Nation FAME Scholarship
Recipient Mary Cole Kinney
Hall of Fame Recipient John Baker
National Board Certified Teachers in Music Teresa Rhyne, TaDarius Dukes, & Hannah Bradford
Past President’s Luncheon
Luca
President-Elect Dr. Travis Bender, Past Presidents Dr. Carl Hancock, David Raney, Dr. Sara Womack, Dr. Rob Lyda, Becky Warren, Dr. James Simpson, John Baker, Michael Meeks, Dr. Dianne Johnson, Greg Gumina, & President Dr. Phil Wilson.
Outstanding Administrator Christy Mims, Principal , Jemison Middle School accompanied by JMS Band Director Charlie Merciers
AMEA Honor
Roll
Outstanding Young Composers
Luca Aravjo
Jonah Hambrick
Jacobe Keebler
Michael Olson
Cameron Rogers-Johnson
Gregory Stringer
Julian Wallace
Lacey Powell Outstanding Music Educator Melissa McIntyre, Liberty Park Elementary, Vestavia
Gabriel Yates
Teacher Profile
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 Chris Benedetti, band director at Gadsden City High School
Briefly tell us about your current position, how long you’ve been there, and a little about your schedule.
“I am the Director of Bands at Gadsden City High School, where I have taught for four years, and I have a wonderful assistant, Haley Staff. Our band program is structured as a tiered system to provide students with a progressive and comprehensive musical education. We have our classes split to reflect our ensembles, which include the 9th Grade Band, Concert Winds (grades 1012), and Symphonic Band (grades 10-12).
In addition to these core ensembles, we have a dedicated Percussion Class where students focus on both wind band repertoire and percussion ensemble music, allowing them to develop their skills in a specialized setting. We also offer a Woodwind Ensemble, Percussion Ensemble, and Jazz Band, which provide additional performance opportunities and help students refine their musicianship in smaller, more focused groups.
Chris Benedetti
Our school operates on a five-block schedule with changes at the semester, which impacts ensemble placement and scheduling throughout the year. This structure allows us to maximize student growth and provide a well-rounded experience in both concert and chamber settings. With the support of our administration, our program continues to thrive, offering students high-quality instruction and meaningful musical experiences.”
Tell us about your background – hometown, college, family, etc.
“I am a first-generation American. My parents immigrated to the United States from Cartagena, Colombia, in South America after my oldest sister was born. They lived up and down the East Coast before we eventually settled in Senoia, Georgia, near Peachtree City, when I was about six years old.
I was fortunate to have incredible band directors who shaped my musical journey—Dr. Steve Tyndall at Rising Starr Middle School and Scott King at Starr’s Mill High School. After high school, I attended Jacksonville State University, where I earned both my undergraduate and graduate degrees in Instrumental Music Education. During my time at JSU, I was an active member of Phi Mu Alpha and had the privilege of performing with the Marching Southerners, Chamber Winds, Jazz Band, Hardcorps, and Latin Ensemble.
It was also at JSU that I met my beautiful wife, Maegan. We reside in Jacksonville, AL, and recently celebrated our fourth wedding anniversary. We now have a oneyear-old son, Lucas, as well as our dog, Penny. Family means everything to me, and I’m grateful for the support they provide as I continue pursuing my passion for music education.”
Why did you decide on a career in music education?
“I had a lot of different passions growing up and wasn’t sure what I wanted to do, but music was something I truly enjoyed, and I never minded studying it. I loved the challenge of learning and improving my craft, and I was inspired by the impact my own band directors had on my life. Music always gave me a sense of purpose and community, and I was drawn to the idea of teaching because of the way music brings people together and creates meaningful shared experiences.
Even with that passion, it wasn’t until my student teaching semester with Dr. Myra Rhoden at Fayette County High School in Fayette County, Georgia, that I realized this is exactly where I am meant to be. We were working on Frank Ticheli’s Shenandoah, focusing on just 16 measures, when everything in the room just ‘clicked.’ The students were completely locked into the music, and before we knew it, we had played through the entire piece. When we finished, there was complete silence—followed by laughter. It was as if everyone in the room was in awe of what had just happened. That moment was electrifying, and it solidified my passion for music education. I believe that feeling is something all music educators chase, and I strive to create those moments for my students every day.”
Who are some of your teachers/colleagues that you would consider mentors and why?
“I have been fortunate to have incredible teachers, professors, and colleagues throughout my life. Honestly, I consider most—if not all—of those I’ve had the pleasure to learn from or teach with to be mentors in some way. I believe in always staying in a constant state of learning, and I try to absorb as much as I can from those around me.
That said, I would be remiss if I didn’t specifically recognize Dr. Myra Rhoden and the impact she has had on my journey. My student-teaching experience with her was truly transformative, and I left feeling confident in my abilities as an educator. She played a huge role in shaping me into the director I am today, and I still stay in contact with her. I consider her not only a great mentor but also a dear friend.
I also owe a great deal to Dr. Andrew Poor, who was my high school assistant band director. He encouraged me to pursue music education, gave me conducting lessons, and even called me to march with the Blue Stars Drum and Bugle Corps. Later, he brought me onto the staff at Spirit of Atlanta, where I had the privilege of working for several years. Those experiences gave me invaluable opportunities to grow as an educator and musician. I am incredibly grateful for the mentors who have guided me, and I strive to pass that same level of support and encouragement on to my students.”
Are there any embarrassing teaching moments you’re willing to share? What are they?
“There are countless embarrassing teaching moments that everyone experiences. The moments when you can almost see the words leaving your mouth and you just want to grab them out of the air and swallow them whole. I think the most embarrassing teaching moment was when I was in front of my colleagues and, without meaning to, I proceeded to ‘shush’ them as though they were my students.”.
Name one accomplishment that fills you with pride so far in your career.
“I had a student who had severe special needs and truly LIVED for our band program. He didn’t always play at the right times or hit the dynamics correctly, but his love for music was unmatched. What filled me with pride every day was how our members treated him. They never wanted him out of the spotlight, no matter what. They worked with him, invited him to lunch during band camp, gave him rides, and made sure he was always taken care of. Knowing that we created a culture of acceptance and service for a student who needed band the way he did is what fills me with pride the most.
Early in my career, I took my band—coming from a small, rural school with only 41 members (16 of whom were auxiliary)—to a contest in Georgia that was set up with prelims and finals. We were the first group to perform, early in the day long before the stadium lights were even on. From all the work and dedication the students put into our season, we made finals and drew to perform last. What made me proud wasn’t just making finals, but seeing the joy in my students’ faces when they had the chance to perform under stadium lights for a full audience. To them, it felt like winning the Super Bowl. Every time I think back to that moment, it fills my heart.”
What would your students be surprised to find out about you?
“I think my students would be surprised to know that sometimes I like to sit around and relax. They only ever get to see me in ‘Go’ mode, so they probably assume that’s how I am all the time. But when I get the chance, I enjoy taking it easy, whether it’s reading a book, watching a show, or just taking some time to recharge. It’s important to have those moments to step back and unwind.”
What was a challenging period of time in the classroom for your students and yourself as a director?
The challenge of preparing Wagner’s Flying Dutchman Overture for our upcoming Music Performance Assessment. It’s an incredibly demanding piece, both technically and emotionally, and I’m so proud of how our students have embraced it. But it’s that very challenge that brings out the best in our musicians. I think it’s a testament to their growth, commitment, and ability to rise to the occasion. Being able to tackle such an intense and complex piece is a huge achievement, and I’m excited for the opportunity to showcase the depth of our program.
What recent performance or musical selection meant the most to you and why?
Andrew Boysen’s Song for Lyndsay was written for his wife, and when I conduct it, I can feel the immense love and passion he had for her. When we performed it, the students and I discussed what we had immense love and passion for. I told them that, when I conducted the piece, I would think of my wife to connect with what the composer felt, and it truly helped our performance. Being able to share moments like that with students— going beyond just the notes and rhythms—is the best part of what we do.
How do you spend your summer breaks?
“I love to travel! My wife and I have always been big on exploring new places. Over the years, we’ve traveled to many incredible destinations in Europe, South America, and Canada. My wife and her family are from Canada, so we make it a point to visit her family there, as well as mine in Colombia. It’s always special to reconnect with family and experience different cultures together. Now,
we’re excited to be able to take our son, Lucas, along with us on these adventures.”
Are you involved in other music-related activities in addition to your teaching position? If so, please explain.
“I am currently a member of Alabama Winds and still actively play in churches around the area. I’ve also had the opportunity to participate in the Jacksonville State University Orchestra, which was an amazing experience, and I’ve worked with Spirit of Atlanta for many years. Staying active in music outside of my role as a director keeps me connected to my own passion for performance.”
How about interests or hobbies not related to your teaching position?
“I’ve always really enjoyed working with my hands. Over the years, I’ve built many props and furniture, and most recently, I’ve learned to weld. There’s something really satisfying about seeing a drawing come to life and feeling accomplished when I see it in action. I’ve also had the opportunity to help build my home, which has taught me a lot of skills along the way, including electrical, plumbing, and carpentry. It’s amazing to learn these new skills and apply them in real-world projects. I also enjoy reading mindset and success books on different topics—whether it’s about personal growth, home improvement, or even leadership. There’s always something new to learn and explore.
MUSIC DEGREES OFFERED
Bachelor of Music Education (Choral Track)
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P-12 Teacher Certification
Projected job growth from 2024-2034 - 4%*
Share your love of music with the next generation
Focus on choral or instrumental music ... or both!
MUSIC FACULTY
Dr. Art Williams, Chair awilliams@faulkner.edu
Dr. Allen Clements aclements@faulkner.edu
Dr Stephen Foster sfoster@faulkner edu
Dr. Robby Glasscock rglasscock@faulkner.edu
Mr. Michael Bird mbird@faulkner edu
Faulkner Marching Eagles
Faulkner Singers
Faulkner Jazz Band
Faulkner University Chorus
Concert Band
MUSIC STUDIES
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Conducting
Supporting Student Success at Music Performance Assessment
by Danielle Todd
Music Performance Assessment is a multi-faceted event that can be overwhelming for both seasoned directors and those who are participating for the first time. Directors spend hours, days, and weeks teaching musical concepts, encouraging student growth, stressing over attendance, worrying about illness, evaluating weather, navigating challenges with scheduling, preparation, and transportation while also serving as the main support system for their students and program.
Researchers have examined aspects of the process and provided information that can guide or at the least inform directors as they prepare for MPA. For example, after observing warmup activities employed by directors in the warmup room, Ward and Hancock (2016) suggested directors refine tuning processes prior to MPA as middle school directors spent nearly 30% of their warmup time tuning. Comparably, Orman, et.al, (2007) explored the use of time in the sightreading room noting it was similar across groups and dedicated to presenting musical information, giving directions, and counting metric beats, which can help directors as they determine how they should spend their time in the sightreading room. Additionally, individual districts, states, and organizations provide specific instructions to directors regarding the logistics of attending MPA to help them prepare for a successful and smooth process. And prior to attending MPA directors can easily find resources that help them with music selection, teaching, and preparation.
Whereas many resources exist to aid directors as they prepare for MPA, the focus of this article is to help directors navigate the stress of the task and meet the needs of their students. While many of these concepts are not new, the hope is they will serve as reminders, ideas, or reinforcement as directors navigate the process and develop strategies to ensure students have a successful MPA experience.
The Warmup Room
The MPA warmup room can be one of the most overwhelming rooms for your students. The number of chairs and stands cause confusion (more or less, doesn’t matter), instrument and uniform mishaps are abundant, the restroom is calling, and selective hearing kicks in. Meanwhile, due to their nerves and anticipation of the important performance ahead, students have a million questions, concerns, and problems, all of which need your immediate attention!
Navigating the warmup room:
Remain calm. Showing stress and responding negatively to students does not help your students, you, or the performance. Consider designating another director, teacher, or parent to be the problem solver. Add a layer of fun by providing a custom name tag “Problem Solver” making them easy to identify. Will the designee know how to address every issue? Likely not, but a calm adult asking you a question verses a stressed student will help lower your stress level that in turn will help students be more successful.
Practice the warmup. Prepare the students by describing what the warmup room looks like and walk them through the process several times before the day of the event.
Stay consistent. What you do daily in class is what you should do in the warmup room. Repetition and familiarity will provide comfort and a sense of routine for your students. If you do something different, be sure you practice it as you would any other music.
Spot check. Hit problem spots and give reminders, but keep in mind that if students didn’t know it walking into the room with weeks of practice, odds
are they aren’t going to learn it in the last 30 minutes, in fact, trying to learn it last minute will likely increase the stress level as it shifts focus to what they don’t know verses what they do know.
Create a positive environment. Students are already stressed. Give positive feedback to students and make them excited about the performance. When you spot check, play parts of the music the students enjoy and sound great playing, then celebrate how they sound.
Guide the atmosphere. Show your lighter side. Tell a joke. Smile. If students know you are stressed, they will be too. With that said, if a student steps out of line. This is your classroom, treat the encounter accordingly. You are the guide that establishes the environment required for success.
Go beyond the music. Students, especially young ones, need reminders about the process. Remind them of what comes next and what is expected.
Stage Performance
Give detailed instructions. When you leave the warmup room to move to stage, tell students exactly what to. “Okay everyone ready? Put your music in this order. Close your folders. Back row stand. Suzie walk to the door and stop. Second row stand. John follow Sarah” This will keep them focused and help reduce stress as they simply follow your instructions and don’t have to figure things out.
Include percussion. During the warmup process plan to give the percussion something to do other than hang out in the back of the room. If this means you need to have them set up instruments, do it. Warmup time helps students focus and percussion need to focus too!
Percussion setup. Have a designated person who will leave the warmup room and go with students to the stage when the time comes. A parent, another director, or even a high school student (if you teach middle school) will help the students stay on task. Also, assign students jobs to do during the setup process so everyone is busy. Having the responsibility of remembering and figuring things out can be stressful for a nervous young student.
The music is prepared and the moment to shine has arrived. Focus on the task at hand and help your students create an environment for success.
Ensemble set up. The diagram given to organizers helps them prepare the stage close to what you are accustomed to, but it will not be exact. When you enter stage, take the time to make it exactly what you and your students are used to. Changes in setup affect what you and the students are hearing and in turn will affect the overall performance. Students need to sit in the same location and hear the same sounds they hear daily. Prepare your students for this as it can seem odd for them compared to other concerts where you preset chairs and do not move them.
Check stand height. Music stands when set up are usually pushed all the way down. Stand on the podium and remind students to adjust them so they can see you. Give a thumbs up when good.
Check on percussion. Walk to the back of the band setup and ask the percussion if they need anything. If they do. Help them. This is not a time to be angry because they forgot something. Ask them questions: Are the tympani tuned? Do you have all the mallets and sticks? Where is the triangle? If an instrument
on stage is different than what you have in your bandroom, ask each player if they know how to use it. Don’t worry, this will go quickly, and your performance will be better for it.
Check music order. Before signaling that you are ready to be introduced, have the students quickly check music order. You never know which students dropped their folder between the warmup room and stage.
Breathe. Before you begin have students take a deep breath in and a deep breath out to calm nerves and focus them on the task at hand.
Play a few notes. Rooms are different. Playing a few notes, or a chord on stage can help students hear and adjust before you play the first piece. Often directors don’t do this because they are in concert mode, but it is your job to do whatever it takes for the students to have their best performance. The stage is yours, use it.
Locate the adjudicators. When everyone is set. Point out where the adjudicators are sitting and tell the students to look at them and the room. This can calm nerves and help students feel more comfortable in a new environment.
Forget about the adjudicators. Give your best performance and help your students succeed. Between pieces wait for your students to be ready, even if this takes longer than you would like. Similarly, don’t wait forever for adjudicators to stop talking. A long-winded adjudicator can open the door for students to become overly nervous as they wait. They will catch up, move on to the next piece in a reasonable amount of time.
The Sightreading Room
Sightreading music is a large part of what we do, yet often it is a process that is dreaded and sometimes feared, especially at events such as music performance assessment. Additionally, the transition from stage to the sightreading room can be a challenge especially for young students. Some students just completed the performance of their life, while others are upset because they missed that section of music, they worked so hard to perfect. Remember, emotions are high.
Entering the room. Practice moving from the onstage performance to the sightreading room. Identify who will go first and how students will follow. Tell students what to expect. There is a high possibility they will enter the room before you. Make sure they know the expectation regarding talking, setup, and procedures. This will help them feel confident and less scared.
Ensemble setup. Sightreading rooms are typically set up for the largest ensemble of the day. Be sure students are aware of this and guide them ahead of time regarding the row they sit on and their location
in the ensemble. Before you begin, adjust the ensemble setup as needed.
Folders. Assign students to get folders and practice this before you go to MPA, especially if you don’t have section leaders who are typically in charge of this. Stress the rules about opening them so they are familiar.
Percussion. Know the instrument requirements for your ensemble sightreading level and assign parts before you go. If you have a large percussion section, consider assigning the part to one player and assign an assistant to help them count and play or cover the part in case of an absence. Assign students instruments they are comfortable playing. Sightreading is hard enough without making them uncomfortable. Now is not the time to make a point with the student who struggles to read mallet percussion parts; put the strongest mallet player on mallets.
Study the score. Have a plan for studying the score quickly. When you practice the process, include your own score study practice. Help your students by identifying the notes and rhythms you know they struggle with.
Have a process. If you are looking for a process to use in the sightreading room, S.T.A.R.S. is a very common sightreading procedure used to help guide ensembles through the sightreading process, however, you should use whatever your group is familiar with. Sightreading at MPA should be like any other time you sightread new music in class. The adjudicator addressing the ensemble, passing out folders, and rules may all be new to students, but the act of reading a new piece of music for the first time should be familiar.
Consistency is key. Sightreading can cause stress for students. As a director, stay calm and teach as you would in your classroom any other day. If the students experience different verbiage and techniques on the day of sightreading, you can certainly expect a different response from them. Be yourself, stay calm, and enjoy the process.
There is no doubt that a lot of time and effort goes into preparation for Music Performance Assessment and what is required musically. But as a band director there are many things to take care of outside of the performance that are equally as important. I have listed a few of my favorite tips regarding additional aspects of the MPA process below.
Setting expectations. It is important students understand the process of MPA and your expectations. I tell my students that MPA is their 9-weeks exam and when you take an exam in math class, you can’t talk. The same is true for our MPA band exam. But the difference between our exam and the math exam is that we change rooms to complete the entire exam which means we must work a little harder to focus.
And, instead of me giving the grade, they have hired experts that provide the grade, which includes everything we do. Since using this transfer with my students, I have not had issues with behavior during the process.
Practice setup. Moving from one area to another is hard for young students. Practice it with the full ensemble. Telling them is important but doing it is more effective. Don’t forget about the transitions from room to room and how they may be different.
Scores. Adjudication scores and comments provide a different perspective and level of guidance that reinforces concepts you are teaching or highlights areas you may have neglected. It is important for students to understand what the scores mean. Share the rubric with them. Talk about your goals. Have them score themselves before you go. Be honest with them.
Using adjudication results. Sometimes we are proud of performances and sometimes we are happy they ended. Discuss your scores with your students and resist the urge to make them feel better by making excuses. Learning from challenges is much more important than false justification of a score you may or may not personally agree with. Similarly, successes should be celebrated. Identifying and discusses success can help students replicate it in the future. To increase understanding, consider playing excerpts of the adjudication recording for students so they can hear the comments and music in the background.
Directors help. On the day of the event directors are stretched in many directions. To avoid a situation where you forget your scores in the bandroom plan to have a colleague, parent, or student nearby throughout the process to help when needed.
Dress. Students should feel comfortable. A few years ago, we went to concert black with guidelines. It made a huge difference for our students because they were able to choose clothing, they felt confident in. If you do this, provide guidelines with pictures. It will work out better than you expect.
Logistics. Make a checklist and check it twice! You don’t want to stress the day of the event because the bus request didn’t get through, a driver was not secured, you do not have enough chaperones, lunch plans were overlooked, or you forgot that last score didn’t come in!
Conclusion
The MPA process can be daunting for students. In fact, it can be daunting for band directors as many feel that it is a true reflection of them as a teacher. Whether you go to MPA and receive top ratings or have a year where you identify areas of growth, helping your students understand the process, goals, and accomplishments can determine how they move
forward as musicians. The most successful teachers put their students at the forefront of everything they do, MPA is no exception. As the weeks quickly move by, MPA gets closer, and stress mounts, find ways to connect with students that fosters excitement and musical growth as they work through the challenges of the music they are preparing and navigate the seemingly monumental task in front of them.
References
Ward, J. and Hancock, C.B. (2016). Warm-up activites of middle and high school band directors participating in statelevel concert band assessments. Updates: Applications of Research in Music Education, 34(2), 29-36. doi: 10.1177/875512331454
Orman, E., Yarbrough, C., Neill, S., and Whitaker, J. (2007). Time usage of middle and high school band directors in sight-reading adjudication. Update: Applications of Research in Music Education, 25(2), 36-46. doi: 10.1177/87551233070250020105
Dr. Danielle Todd serves as Assistant Professor of Music Education at The University of Alabama. She has taught middle and high school band in Alabama for over a decade and been a music educator for more than 20 years. Danielle’s research interests include teacher preparation, professional development, teacher mobility, and situational awareness in the music rehearsal setting.
Using Your Eyes, Ears, and Intuition to Improve Rehearsal Efficiency
When the baton falls and the music ceases, music teachers are left with a burning question: What needs fixing first? For seasoned teachers, this decision is often automatic. Their eyes and ears immediately gravitate towards the aspects of their students’ performance that contrast with their expectations, and they already have a plan to efficiently address the issues without significantly impacting their rehearsal time. However, for preservice and novice teachers, achieving this level of automaticity takes time and purposeful practice. This article will draw from existing research to identify what the best teachers do on the podium, how they decide what to fix first, and strategies for optimizing rehearsal time.
The Avalanche Problem
Ensemble rehearsals present the conductor with a sea of variables to consider at once. One must assess every element of musical performance within individuals, sections, and across the group. Moreover, performance errors often do not occur in isolation but simultaneously. The challenge comes when the conductor must triage—quickly identify every problem and determine which requires immediate attention.
There is some good news, some bad news, and some more good news regarding our ability to process multiple variables simultaneously. The good news is that our minds and bodies are hardwired to simplify complex challenges into a direct course of action. When a child is in danger, parents instinctually act before thinking, saving their child, and realizing what they did after the fact. The bad news is that this behavior is not beneficial when making predictions or identifying causality. Say you were presented with data for five variables that affect the likelihood of an avalanche: slope incline, precipitation, temperature, wind speed, and snowpack. Research has shown that individuals tend to assign causation to the most extreme variable rather than considering a balance of all five variables. So, if the slope incline was perceived as very steep, individuals assumed it must have caused the avalanche. This phenomenon is known as satisficing (Fay & Klahr, 1996; Kuhn, 2001; Kuhn & Pease, 2008; Simon, 1956), a term coined by political scientist Herbert Simon, blending satisfy and suffice. A musical example of satisficing is when instrumental teachers say more air when solving a variety of tone and balancerelated problems. However, this is an oversimplification of the multiple facets of tone production, such as airspeed, tongue arch, embouchure, and posture, to name a few. Such shortcuts may be time efficient in the short-term but often lead to repeated addressing of the problem down the road as the shortcut may have masked other underlying performance issues. Instead, taking more time to investigate the causes of a student’s poor tone quality may give that student more agency to improve their tone in future
performances without the teacher’s assistance.
by Russell Greene
Fortunately, we can develop our ability to consider multiple variables (Kuhn & Dean, 2005). Participants in Kuhn and Dean’s study were invited to explore a computer program that allowed them to manipulate each of the avalanche variables, thus developing an understanding of the multilayered interactions. It seems tinkering allows individuals to recognize the incremental effects of progressively changing variables. Music teachers should take time to experiment with musical elements and develop an understanding of how the evidence of a musical error may be correlated to the existence of another. Modeling this process for your students also invites them to be scientists in their music learning.
Proactive Rehearsal: Know what you want… anticipate what you are going to get
Research has indicated key differences in novice and expert music teachers’ behaviors on the podium. Experts seem more likely to remediate errors they see (posture, carriage, embouchure); this contrasts with novices who are predominately focused on fixing what they hear (Greene, 2023). This is corroborated by eye-tracking research that has found experts are more likely to scan the classroom and home in on target areas, while novices are more arbitrary in where they are looking (Duke & Marcum, 2016; Todd, 2017). However, expert teachers redirect their attention to a problem area when presented with egregious errors. Effective teaching goes beyond running through a piece of music and waiting to see what happens. First, one must have a developed notion of an ideal musical performance. Consider what the piece should sound like based on all its musical parameters:
melody, harmony, balance, blend, dynamics, intonation, rhythm, pitch/key, tempo, etc. Your audiation – the representation of sound in your mind’s ear –is developed by listening to sample recordings, playing excerpts on the piano/voice, and studying the score. Also, consider what an ideal musical performance looks like, including your students’ posture, embouchure, hand position, etc.
After developing your concept of ideal performance, anticipate where your students are likely to experience challenges (i.e., lesson/rehearsal plans). Perhaps there is a complex rhythm, troublesome accidentals, or awkward fingerings. A passage may challenge balance or intonation based on what you know about your students or the recordings you have studied. Whatever the challenges may be, effective teachers anticipate their occurrence and design rehearsals that tackle these challenges proactively rather than waiting for mistakes to happen. A rhetorical question to frame this would be: How can I design my rehearsal so that my students’ first attempt is as successful as possible?
After musical errors are anticipated and detected, what we do about them will follow. Expert teachers triage musical problems into an order of most to least important. Rather than give a laundry list of what went wrong, give your ensemble one mission for the next performance – one for the group or one for each sub-group. Regardless, every student’s performance must be met with feedback. If an error is performed without commentary, the student might assume the performance was acceptable and perform the error again. Conversely, if an acceptable performance is not remarked upon, students are not given the tools to replicate it. Moreover, feedback does not necessarily have to come from the teacher. Students may be invited to observe their own or their peers’ performances. However, student feedback should not happen arbitrarily, in that the conductor finishes a rep and asks, “What did you think about that performance?” Instead, student feedback must be primed before a performance, giving listeners a specific item to attend to.
Conductors face numerous variables during rehearsals and must quickly identify and prioritize problems to address. With practice, multiple factors can be considered simultaneously, which can help understand the root causes of musical errors. Preparation is vital—effective teaching involves clearly defining what an ideal performance looks and sounds like and anticipating where students might struggle. Feedback is crucial—every student’s performance should be met with feedback so they might know what to correct or what they did well. Ultimately, be willing to take time with your
students to experiment and explore so you and they can develop agency over their performance. As agency improves, students can correct their mistakes and make fewer mistakes in the long term, leading to more enriching musical experiences in rehearsal.
References
Duke, R. A., & Marcum, T. D. (2016). The window to the mind: Analysis of visual gaze and attention in skilled music teachers. Presentation at the Biennial National Association for Music Educators Research and Teacher Conference. https://research2016. nafme.org/sessions/friday-sessions-march-18-2016.
Fay, A. L., & Klahr, D. (1996). Knowing about guessing and guessing about knowing: Preschoolers’ understanding of indeterminacy. Child Development, 67(2), 689–716. https:// www.jstor.org/stable/11311841.
Greene, R. J. (2023). The effects of error magnitude and confluence on instrumental music educators’ evaluation and remediation of performances (Order No. 30314855). Available from Dissertations & Theses @ University of Alabama; ProQuest Dissertations & Theses Global. (2827359462). Retrieved from https://www.proquest. com/dissertations-theses/effects-error-magnitudeconfluence-on/docview/2827359462/se-2.
Kuhn, D. (2001). How do people know? Psychological Science, 12(1), 1–8. https://doi.org/10.1111%2F1467-9280.00302
Kuhn, D. & Dean, D. (2005). Is developing scientific thinking all about learning to control variables? Psychological Science, 16(11), 866–870. https://doi.org/10.1111/j.14679280.2005.01628.x.
Kuhn, D., & Pease, M. (2008). What needs to develop in the development of inquiry skills? Cognition and Instruction, pp. 26, 512–559. https://www.jstor.org/stable/27739894.
Simon, H. A. (1956). Rational choice and the structure of the environment. Psychological Review, 63(2), 129–138. https:// doi.org/10.1037/h0042769.
Todd, E. D. (2017). The effect of expert guided eye gaze on novice instrumental music teachers’ observations of middle school band rehearsals. Available from Dissertations & Theses @ University of Alabama; ProQuest Dissertations & Theses Global. https://www.proquest.com/dissertationstheses/effect-expert-guided-eye-gaze-on-novice/ docview/1917764701/se-2.
Russell J. Greene is an Assistant Professor and Coordinator of Music Education at Alabama State University. He teaches courses in music education and conducts the ASU Wind Ensemble. Dr. Greene received a B.S. in Music Education from Troy University, an M.A. in Music Education from The University of Alabama, and a Ph.D. in Music Education from The University of Alabama.Dr. Greene’s research focuses on teacher training and effectiveness, error detection, and multivariate reasoning.
The Feedback Cycle
Recommended Solo Repertoire for the Rising Alto Saxophonist
By Zander Westphal
Introduction
Finding suitable solo repertoire is crucial for the musical development of an aspiring saxophonist. Whether you are a high school alto saxophonist, a band director finding repertoire for their student, or browsing for solo repertoire, this article is designed to help young alto saxophonists find performable repertoire. It is crucial for a saxophonist to study solo works that offer a balance of education and entertainment. The educational merit inherent in your chosen solo composition contributes towards your advancement in pedagogy, technique, and musicianship. The entertainment value of your musical selection enhances the enjoyment of your practice sessions, therefore encouraging longer and more consistent practice sessions.
Considering Educational Value
The educational value in a solo composition should be built upon your current ability as a performer with your comfortability in extended techniques. For example: if a performer struggles to articulate palm key notes effectively, it is unwise for this performer to study solo repertoire with altissimo. An aspiring saxophonist should select a solo to study that requires practice but is within their ability as a performer. This ensures the saxophonist maintains motivation throughout their practice regimen.
Here are examples to consider when selecting a composition for study:
Range
Extended Techniques (if applicable)
Difficulty of Rhythms
Tempi
Articulations
Complexity of the Accompaniment (if applicable)
Style and Common Performance
Practices of the Style
Availability of Resources (recordings available, educational materials published)
Duration of Piece
By considering these components of their musical composition, a student can gain an understanding of whether a musical composition will help them develop as a performer.
Considering Entertainment Value
Entertainment is an important factor in selecting repertoire, especially for younger saxophonists. Some saxophonists consider their audience if they intend to perform their selected solo work. If a student intends to perform for students studying music, the student may opt for a composition with complex harmonies and melodies. If a student intends to perform for an audience with no musical training, the student may opt for a composition that is simple in form and listenable. Regardless of whether a student chooses to consider their audience, it is important that the student enjoys the composition they intend to perform. When selecting the composition, the student should ask themselves the following questions:
Will the student feel dissatisfaction in their practice sessions because of the difficulty of the musical composition? Would the student listen to this composition in their free time?
If selecting multiple solos for a performance, how does this composition work in conjunction with other solos selected for the performance?
If a student enjoys practicing a composition, they will build motivation to practice more frequently. Frequent practice is crucial to maintain musical development as a performer to reinforce musical and instrumental pedagogy learned through performance.
Recommended Transcriptions
Since the saxophone was invented in the 1840s, all solo compositions written specifically for the saxophone are from the Romantic Era or later. Several transcriptions for saxophone are available from various publishing companies. These transcriptions allow saxophonists to perform repertoire written before the saxophone’s invention. Some transcriptions may be from repertoire written for other instruments after the saxophone’s invention. Since these pieces are transcriptions, some pieces may be available in multiple keys. It is important for the saxophonist to pick a key that fits in a comfortable range or includes notes that the saxophonist is currently developing.
These are some transcriptions an aspiring saxophonist should consider studying:
Vocalise – Sergei Rachmaninoff
Vocalise is a transcription from voice and piano. The composition has a
slow tempo and is available in several different keys. Many transcriptions do not include altissimo. This piece allows a saxophonist to develop their musicianship, intonation, interpretation, vibrato, and tone production.
Three Romances – Robert Schumann
This three-movement solo work allows an aspiring saxophonist to begin performing solo compositions with multiple movements. This selection allows the saxophonist to develop their timing with grace notes and focus on longer phrases, which are typically notated through slur markings. Although not rhythmically challenging, movement II is written in Concert D Major, which is B Major for the saxophonist. This is an opportunity to read recognizable rhythms in a key signature that an aspiring saxophonist may not be used to.
Sonata No. 3 – George Frideric Handel
This four-movement sonata follows a slow-fast-slow-fast structure. All movements are in key signatures friendly to younger saxophonists, which allows the soloist to develop their technique through scalar runs in the faster movements. Since the runs are scalar, this sonata provides a great opportunity to understand the importance of learning and memorizing scales as part of a daily practice regimen.
Sonata – Henri Eccles
This four-movement sonata, like Handel’s Sonata No. 3, follows a slow-fast-slow-fast structure. The slow movements allow the saxophonist to develop their lower register, particularly their low Bs. Gaining control over the timbre of the low register of the saxophone is a concept in which several young saxophonists struggle. The second movement includes leaps to palm key E, which allows the saxophonist to develop the timbre and technique on their palm keys. Studying this sonata provides a wonderful opportunity to develop an understanding of baroque ornamentation.
Czardas – Vittorio Monti
Czardas is a widely recognized piece because of trends on social media. Audiences that have not studied music at the collegiate or high school level will likely still recognize excerpts from this transcription. Czardas includes several tempi with opportunities for rubato. Opportunities for rubato allow the saxophonist to develop their musicianship, interpretation, and creativity through their study of this composition.
Recommended Solo Repertoire
This section is dedicated to solo repertoire that was written specifically for the saxophone. While some compositions may have editions for other instruments, these musical pieces were designed for the saxophone.
Aria – Eugene Bozza
This beautiful aria by Eugene Bozza allows the saxophonist to develop their musicianship, phrasing, intonation, and vibrato. This solo work is a wonderful introduction to time signatures where the beat is not a quarter note, as the aria is written in three-eight. There are also several accidentals throughout the piece, which provides a great opportunity to develop a saxophonist’s understanding of music theory by analyzing key changes written through accidentals instead of changing the key signature. The piano accompaniment is simple
compared to most saxophone repertoire, making the accompaniment more accessible to pianists with less technical capabilities. This aria is relatively easy to line up the saxophone and piano accompaniment parts. There are also several accompaniments posted on YouTube, so the saxophonist may practice or perform with these recordings.
Sonata for Alto Saxophone – Paul Creston
Creston’s Sonata is a cornerstone of the saxophone repertoire because of its combination of technical prowess and expressive depth. The technique required in movements I and III allow for the saxophonist to develop their articulation and finger pedagogy. There is only one instance of altissimo, which is an altissimo G in movement I. Movements I and III also allow the saxophonist to utilize palm keys and front fingerings for third ledger line E and the F in the space above it. The mordents in movement III can prove challenging for vertical alignment between the saxophonist and the pianist. It is important to study the first and third movement of this sonata with a metronome. Movement II allows the saxophonist to showcase the instrument’s expressive capabilities and develop their vibrato, phrasing, intonation, and tone production. This 20th-century masterpiece of American classical music is a must-study for any
aspiring saxophonist.
Concerto for Alto Saxophone –Alexander Glazunov
Glazunov’s saxophone concerto, like Creston’s Sonata, is a cornerstone of the saxophone repertoire. The lush harmonies and expressive melodic lines Glazunov composed deeply root this masterwork in Romanticism. For a student who would like to deepen their ability to interpret repertoire, this concerto is an excellent opportunity. Interpretation is a crucial component of performing this solo work because of the numerous tempi, variety in style, and dramatic contrasts in dynamics. Because of the variety of styles in this concerto, students can develop all aspects of music performance. A breadth of quality recordings is available for this concerto, allowing the saxophonist to listen to how other performers have interpreted this work.
Sonata for Alto Saxophone and Piano – Bernhard Heiden
This sonata by Heiden features several contrasting styles and non-diatonic harmonies. These non-diatonic harmonies provide great educational value in music theory and allow a saxophonist to perform a work with several accidentals. For younger students who excel at internal pulse and rhythm, this sonata is a great study. The intricate rhythms in the solo line and fluctuating time signatures in movement I allow the saxophonist to continue developing their rhythmic skills. The speed of movement II allows for the saxophonist to practice alternate fingerings, particularly trill C, alternate C#, and the G# fingering with the C# key instead of the G# standard key. The Adagio at the start of movement III allows for the saxophonist to develop their expression and interpretation. The Presto in movement III teaches a saxophonist the importance of keeping the fingerings in contact with the keys through its quick, scalar runs.
Paquito – Andy Scott
This Latin-inspired classical work by Andy Scott is a must-study for performers who enjoy listening to
jazz music. All altissimo written in the work has an ossia for performers who are not comfortable performing altissimo, making the piece more accessible to younger saxophonists. If a student intends to perform this work, it is important that the student has ample time with the pianist. The complexity of the clashing rhythms between the saxophonist and pianist can be difficult to line up, especially if the saxophonist and pianist do not regularly perform together. The groove and catchy melody in this work makes Paquito a composition that almost any audience will enjoy.
Strange Lights – Harriet Steinke
Although less known compared to the other repertoire on this list, Strange Lights is a phenomenal piece to study for a saxophonist looking towards developing dynamic control and interpretation. Movement I has several breath marks, which allows the performer to decide how long to keep the gap between each of these phrases, if there is a gap at all. The introspective melodies Steinke composed allow for the performer to develop an understanding of phrasing and relate phrase structure to expression. Strange Lights is also a great study in time signatures. The rhythms in movement I are all simple: eighth notes, quarter notes, quarternote triplets, half notes, dotted quarter notes, and whole notes. The second movement allows the saxophonist to develop their technical capabilities. Since several passages in movement two include the same notes with varying rhythms, students can focus on the clarity and consistency of the rhythms without having to focus heavily on the notes. Movement III, like movement I, is rhythmically simple. The rhythmic simplicity allows for the saxophonist to develop their ability to interpret music. The end of movement III frequents the upper range of the horn, allowing the saxophonist to develop their intonation and tone production on their palm keys and front fingerings.
Tableaux de Provence – Paule Maurice
This programmatic suite by Maurice was inspired by the Provence region in southern France. In five movements
with contrasting difficulties, there is undoubtedly opportunity to develop any facet of music performance. The cultural significance and contrast between expressive opportunities and virtuosity of Tableaux de Provence made this suite a popular composition in saxophone solo repertoire. The cadenza in movement V allows the soloist to perform without piano accompaniment. This adds flexibility in interpretation, specifically through rhythm and timing. If a student needs to develop their technical proficiency, this is a phenomenal, advanced selection for them to study.
Cantilene et Danse – Denis Joly
Cantilene et Danse is split into two larger sections: a cantilene and a dance. The expressive melodies in the cantilene allow the saxophonist to develop their musicianship and interpretation. The lightness of these melodies allows the saxophonist to focus on producing a tone characteristic of the cantilene. The second section, the dance, allows the saxophonist to focus on articulations and rhythmic precision in six-eight. For a student looking to study compound time signatures, Cantilene et Danse is a wonderful addition to their repertoire.
Sarabande et Allegro – Gabriel Grovlez
This solo work is split into two sections: a sarabande and a more technique-driven second section. The warm and dark harmonies in the sarabande of Grovlez’s Sarabande et Allegro allow the saxophonist to develop their vibrato and musicianship. The saxophone part of the sarabande tends to stay within the low register of the saxophone. This allows the saxophonist to develop their tone production and breath support when performing in the low register of the saxophone. The allegro allows the performer to develop their rhythmic skills on tied notes, such as half notes tied to a sixteenth note. The emphasis on downbeats in the piano accompaniment of the allegro makes vertical alignment between the saxophonist and pianist easier.
Conclusion
When selecting repertoire, it is important to consider the educational and entertainment values in your repertoire. If a saxophonist wishes to perform a piece which includes an accompaniment but does not have a pianist available, streaming platforms may possess recorded accompaniments from pianists. Make sure to obtain the appropriate permissions to use these recordings in performance. A saxophonist can research additional repertoire through YouTube videos, recommended lists on collegiate websites, or contacting local saxophonists. Solo performance is crucial towards developing a student’s abilities as a saxophonist.
Zander Westphal is currently the Band Director at Charles Henderson Middle School in Troy, Alabama. He serves as the Executive Director of Gulf Coast Chamber Ensembles; and under his leadership, chamber ensembles in the program have premiered music from composers across the planet. Zander has performed at the International Saxophone Symposium and is scheduled to perform at the North American Saxophone Alliance Region 7 Conference in Knoxville, TN in 2025. As a soloist, Zander has premiered music from Giuseppe Parmigiani and Sabrina Schantz and has joined several consortia for saxophone solo and chamber works.
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Keyboards, Controllers, and DAWS, Oh My!
Part II: Methods for MIDI Use in the Classroom
In the May/June 2024 issue of Ala Breve “Keyboards, Controllers, DAWS, Oh My!” we discussed the technical requirements of building a DAW for classroom use. This article will focus on the use of that DAW in day-to-day instructor-guided musical activities. The first thing you will want to do is to assess the computer science knowledge of the group with which you are working. It is highly likely that almost all of the students will not have any type of experience with computing outside the use of a mobile device; however, in some special scenarios, you may come across a student whose parents work in technology or are intense gamers. These folks seem to understand some rudimentary computer science because of real-life applications experienced in their personal time. If this is the case, you will want to find a way to create activities that stimulate multiple knowledge levels.
Secondly, the teacher must also assess the music theory level of the student. Although we have not used the words composer or composing, making a beat
or simple hook is a type of composing that relies on a general understanding of rhythmic, melodic, and harmonic theory. It will be of great advantage to begin with a simple music theory discussion outlining the relationships that chord, melody, rhythm, and bass parts share during performance. Demonstrate for the class the simple construction of a two-measure phrase beginning with bass or drum parts. Building music from the bottom up ensures that the inner harmonies and melody have a frame of reference and musical support. Constructing a musical phrase in front of the class allows the teacher to discuss the inner workings of building each part in realtime. This will provide the opportunity to explain what roles certain instruments have within an ensemble. The modern music instructor will not need to be able to play multiple acoustic instruments; however, they will be more successful if they have enough knowledge to understand the instrument’s function and role within an ensemble.
If there is only one station avail-
able, then the assignment is much easier in a one-on-one situation. The instructor may take as much time as needed to illustrate the mechanical requirements of constructing small musical phrases that engage and challenge the students in a way that compels them to advance their knowledge while maintaining low stress levels with achievable goals. If you have a large number of students, break them into smaller groups with similar knowledge levels or skill sets. On the chance that you do have one of those special students with prior experience, have them lead one of the smaller groups. Collaboration is a great teacher, and these experiences will impact their peers and facilitate discovery-style learning. Students tend to remember the details of something they discover on their own rather than something they are told through lecturing.
We can break down the experience level into three categories or levels of musical experience. Level 1 assumes no music theory experience, meaning the approach here must be simple and direct:
The instructor dictates what the student plays—in other words, a mimic- or repetition-style of music communication in which the class plays what the instructor plays. This will mean explaining each step of creation as it happens in realtime. Level 2 assumes little experience in music theory, which allows for a slightly more advanced approach because the instructor can focus on MIDI function instead of what note and rhythm to play. Level 3 assumes a moderate amount of exposure to music theory according to age and experience. Here the instructor may branch out and give more intricate directions or set more musically demanding parameters.
The instructor can then assess the digital experience of the class and place them in categories used previously (e.g. Level 1 can use drum pads on the controller for simple rhythmic groove building and beat making, Level 2 players can use drum pads and controller’s keys to build simple beats with bass lines, Level 3 players can make usable beats and simple bass lines with straightforward accompaniment for strategically orchestrated musical content). Here we can allow the students to work in a solo mode, giving them full creative power but with a system of instructor-made musical parameters.
Once the student is assessed for musical and computer experience, the instructor can begin to create activities rooted in existing music education techniques. Teacher-led exercises using a call-and-response method with rhythmic hand clapping in simple, easy rhythms are the best way to start. When the group responds to the rhythm in musical time, repeat the phrase a few times, then divide the class into two individual sections. Assign a different rhythm to both groups that overlaps so there is a moment where they play both separately and a moment where they play together. Quarter notes in which the tempo is 60 or slower will be most advantageous. Have each group perform their part separately and then together to create a larger rhythm. Repeat this several times to reinforce the rhythmic sense of the entire group. Next, divide the class into three groups and assign a rhythm to each group that overlaps similar to the previous example. Solo the groups until they successfully perform each separate rhythm, then direct them in serial order performing in musical time, repeating several times. Fi-
nally, have them start their parts together to experience the collective groove made by multiple moving parts. Teaching the concept of groove can be hard at first; however, even without professional music vernacular, we can associate the movement of musical time with words they hear every day, like “even, smooth, connected, repeating, equal,” etc. to define the idea of groove.
Singing is a highly successful technique with younger students to get melodic or rhythmic call and response from the group. Simple vocalizations between instructor and class using the aforementioned method demonstrate how a musical part functions within a group setting. Start with the instructor leading the entire class, then break into smaller groups until a few groups are performing a unified rhythm together. Vocalizations reinforce rhythmic time and melodic memory recall, which makes the concept of groove more accessible to beginning students. Using familiar popular songs from video games, TV programming suited for your demographic, or a well-known folk song will engage them and center their focus on the success of the song because they are invested emotionally and intellectually stimulated. Finally, combine the hand claps with the vocalizations to provide extra intellectual stimulation.
The next step should be moving the group to a DAW to recreate the simple rhythms demonstrated by the instructor. Some groups may be able to take this into the digital realm with ease, some may not. In this case, the instructor can apply these techniques using simple acoustic instruments found in almost every classroom, like Orff instruments, boom whackers by Remo, recorders, or various hand drums, before attempting to move to the DAW.
Assuming the space is available, break the students into smaller groups and give them the challenge of composing their own musical phrase using the same musical content you provided in the previous examples. Students making art together will have more impactful musical moments because they are collaborating, not attempting to absorb new information given to them in real-time. Instructors can work on this for as long as they want but at some point, they should encourage each group to perform their composition for the class. Take
all the pomp and circumstance out of performing and emphasize the sharing aspect that exists in the appreciation of making and listening to music.
When the group has the proper computer and music theory training, use the same techniques to show them how to function within the digital realm. The class can participate in instructor-led call-and-response exercises using the computer speakers to monitor so they hear themselves. Next, divide the groups into two parts and assign them specific instrumental roles. For instance, group “A” are drums, and group “B” are bass instruments. Demonstrate to each group their designated parts (still using simple rhythms and giving them the harmonic and melodic content before asking them to perform). After several simple exercises and break-out groups, the instructor can bring the class back together to share their compositions with the class, building a strong sense of artistic community.
Charles Brooks, DMA is a classically trained professional musician, clinician, composer, and college educator teaching in the Department of Entertainment Industry at the University of North Alabama. He is the South’s premiere fourmallet vibraphonist actively performing across multiple genres and states and is recognized by international audio component giant K&K Sound Company, artist/educator endorser with Innovative Percussion and Soultone Cymbal Company. In addition to teaching, composing, performing, recording, mixing, and mastering his own original music, Brooks also live-streams jazz vibraphone content through his website and social media. In January 2025, he released his fifth full-length solo album, which is currently available along with his other albums on his website and most streaming platforms.
In addition to being a level 1 Pro Tools Avid Certified Instructor, Brooks holds a Doctorate in Musical Arts with a Composition minor from Louisiana State University, Masters of Arts from Austin Peay State University and Bachelor of Arts in Music from Western Kentucky University. With over 30 years experience in performance, composition, and education, and over 20 years experience in recording live music, Brooks is an accomplished performer, a public and private instructor, and a consultant proficient in orchestral performance, jazz studies, and performance, percussion studies and performance, and audio engineering. For more information please visit: www.TheCharlesBrooks.com
Choral Music Reviews
by William Powell
Count the Stars (SAB and piano; also available for SATB and SSA)
Words and music by Andy Beck
Alfred Music
46367 (sab); 46366 (satb); 46368 (SSA)
$2.05 / $2.20 for ePrint
PianoTrax available
Duration: 3:20
This song was composed for the Fergus Falls Choirs (Minnesota) in remembrance of Briggs Anderson. It can be sung in practically any performance setting and for almost any occasion. Beck’s text is filled with words of devotion and commitment to the thoughts or memories of a beloved individual. The melody is very singable; and the lush harmonies, while not overdone, occur at complementary moments in the composition. The piano accompaniment seems wellsuited for intermediate-level pianists. A mostly homophonic composition, the rhythms fit the text very effectively. The B section uses the Latin text of the Requiem. The ending section of the song includes a descant for two soprano voices that lasts for about seven measures. It is an appropriate song for choirs of most any size, middle school and above. One of many musical lessons to be gained from this composition is employing rubato.
Stabat Mater Dolorosa from Stabat Mater, first movement (SA and piano)
by Giovanni Battista Pergolesi
G. Schirmer, Inc.
ED 4615
$1.95 / $3.50 for ePrint
Duration: 4:38
Originally written for duet with Baroque orchestra, this exquisite SA choral setting with piano [reduction] provides ample opportunities for growth in certain musical concepts such as tuning, breath control, intensity, phrasing, ascending and descending large intervals, chromaticism, etc. Adherence to the appropriately slow and steady tempo (Grave) is essential throughout the piece. An experienced children’s choir would be able to sing this song well, as would an SA choir of middle school and above. Since the accompaniment is essentially an orchestral reduction, it calls for sensitivity and control from the pianist.
Carnavalito (TTBB, also available for SATB)
Bolivian folk song, arr. by Will Lopes
Hal Leonard Corporation
00338046 (TTBB); 00140908 (SATB)
$2.10 / $3.50 for ePrint
Duration: 2:00
Carnavalito is a great addition to a choir’s repertoire as a novelty piece and concert closer. It is rhythmically driven, building intensity over the duration of the song. The arranger assigns percussive sounds (similar to “beatboxing”) set to ostinato rhythms at the beginning of the song. The percussive syllables are then transferred to pitches. Body percussion and movement add to the growing interest of the choral arrangement. Other than the percussive syllables, the text is in Spanish. The score includes a page with the Spanish text, translation, and pronunciation guide in phonetic spelling.
William Powell Director of Choral Activities Auburn University
General Music Reviews
Help Your Shelf
by Jason Jackson
We’re continuing with Part 3 in our series on the top 5 most-recommended resources our AMEA Elementary members think everyone needs on their bookshelves! Scroll back to April 2024 on our AMEA Elementary Facebook page to see all of the suggestions or check out the August/September and October/November issues of the Ala Brev to read Parts 1 and 2!
GAMEPLAN is a sequential K-5 active music-making curriculum, primarily based around the OrffSchülwerk approach, although there are Kodály- and Dalcroze-flavored activities interspersed. The book for each grade level has 35 weeks of lessons (September through May) with approximately 60 minutes of activities in each lesson – enough that you could pick and choose things to include or leave out or extend over multiple lessons. There are hundreds of “gamified” activities in each book (hence, the title). The teaching process for each activity is stated simply and easy to understand. Repertoire consists primarily of folk songs and rhymes with
many original works by the authors. Seasonal and holiday-related repertoire is included at appropriate times throughout the year. You can preview a couple of pages from each grade level on the KiDSounds website. In 2019, the authors published free replacement activities for several problematic selections throughout each of the books. You can download these lessons to get a feel for content and style. Note: the link to the replacement activities may not work if you’re on a school network.
I’ve used GAMEPLAN over the past 12-13 years in a few different settings. The 6-week farm unit at the beginning of the kindergarten book alone makes it worth the $115 price tag. Many of the lessons in kindergarten are tied together by a theme (e.g., farm animals, occupations, spring, weather, bees, frogs, ocean) with related songs, rhymes, and activities. First grade introduces rhythmic and melodic notation and 2nd – 5th grade build on that foundation. I would highly recommend starting with the kindergarten and 1st grade books before adding other grade levels since diving into whole notes and full pentatonic solfege by the 5th lesson of 3rd grade might not make the
most pedagogical sense without the foundation set up by the lessons in the earlier books. If you teach recorder, there are many songs and activities in the 4th and 5th grade books, along with reproducible song sheets for students inside the back cover. In my opinion, the 3rd, 4th, & 5th grade content progresses at a quicker pace, so I often look for additional reinforcement activities for certain concepts. There are a few supplemental resources from other authors and publishers mentioned for a few activities (e.g., Music for Children Vol. I, Rhythmically Moving CDs, New England Dancing Masters collections, various children’s books, and other recordings). These are used sparingly but each one is an excellent resource to have on your shelf as well. Physical and digital charts and manipulatives for each grade level are available as a separate purchase, as well as the GAMEBOARD – 8 bulletin board components, but there are thumbnail images for everything in the appendix of each book, so making your own would cut down on cost if you’re crafty.
P.S. – Send me an email if you want to chat about GAMEPLAN (jajackson@ bcbe.org). It’s one of my all-time favorites!
*Prices from publishers’ website, January 2025.
Jason Jackson teaches K-6 general music at Daphne East Elementary School and is President-Elect of the Elementary Division.
T h e D a v i d L W a l t e r s D e p a r t m e n t o f M u s i c h a s o v e r 3 0 0 u n d e r g r a d u a t e a n d g r a d u a t e m u s i c
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Band Music Reviews
I hope everyone had a relaxing break and a good start to the new semester. With March Madness right around the corner, basketball brackets are in full swing. I thought it would be fun to create our own version, but instead of basketball teams, we’ll put the spotlight on some of the best new Grade 2 and 3 band pieces from 2024!
GRADE 2
Tyler S. Grant - Under the Ice
Program notes: Known for its incredibly vast size, Lake Michigan has been rumored to be the home of mysterious and undefined mythical creatures. Many have reported their haunting encounters which has led to illustrations and thrilling theories of what lurks beneath the surface. This folklore, paired with Lake Michigan’s history of frozen ice patches, served as the inspiration for Under the Ice.
Christina Huss
- When an Angel Gets Its Wings
in the key of Bb are thoughtfully interwoven with familiar passages from Antonin Dvorak’s New World Symphony Brief solo passages of “Going Home” feature both horn and trumpet in this moving ballad from composer Christina Huss.
Joshua Hobbs - Always
Program notes: Composer Josh Hobbs reflects on the essence of love and acknowledges its indescribable nature. His composition, Always, is his sincere attempt to convey profound emotions through music. The piece originated from an impromptu piano improvisation crafted explicitly for the love of his life, Tori. The melody was preserved with Tori’s insightful encouragement, which later became the heart of the composition. Hobbs intricately weaves the melodic theme throughout the piece using horns and alto saxophone, symbolizing love’s enduring presence and intertwining nature.
by Dr� Jeremy Stovall
pulsating pattern to propel the work forward.
Yukiko Nishimura - Blessing Wind
Program notes: When an Angel Gets Its Wings is a beautiful, uplifting original composition for band designed to transport both performer and listener on a journey of faith and hope. Beautifully scored original melodies
Timothy Loest - Skedaddle
Program notes: Skedaddle is a highenergy work with a “cut and run” tempo. The DNA of the work is a four-measure rhythmic ostinato with precisely located accents that create a
Program notes: Everyone struggles, sometimes, with burdens and needs hope in our complicated lives. This piece is intended to provide a peaceful moment, calming the storm that sometimes surrounds you, while sharing in the beauty of music. May you grow to be the person you hope to, following the true spirit within you, along with flowing in the Blessing Wind.
Jorge Vargas - Fiesta!
Program notes: Fiesta!, by Jorge Vargas, captures the spirit of a joyful celebration in Mexico, perhaps in a small town or even a large city. The Latin rhythms evoke the excitement that people feel as they are surrounded by laughter, joy, food, and music. Fiesta! contains many Mexican folk rhythms that are common in mariachi music, which makes this a perfect piece to introduce your students to the music of Mexico.
Adrian B. Sims - Machines of Wrath
Program notes: Imagine a world where
powerful machines attempt to take over. The music characterizes the true authority of machines with a steady and powerful groove. Menacing themes take hold as the music marches on, leading to dissonant chaos. The machines emerge victorious in their efforts to achieve ultimate power, depicted by a massive fanfare at the end of the work.
Randall Standridge - Stay
Program notes: «The world is better with you in it.” This simple yet powerful sentiment is the inspiration for this entry in the unBroken Project, a series of works dedicated to sparking discussion and thought about mental and emotional health. At times dark but ultimately hopeful, this work combines symphonic lyricism with pops sensibilities to create an accessible yet mature work for young band. Careful ranges, colorful orchestration, and engaging percussion are used to great effect – this is sure to have a strong impact on performers and audiences.
GRADE 3
Christopher Artau - Scarlett Echoes
Program notes: Scarlet Echoes is a piece based on two eighth notes - the “echo motif”- which is explored throughout the work. The piece opens mysteriously with bare instrumentation, allowing for the exploration of softer dynamic levels, and slowly builds to a full ensemble climax moment that passes around the “echo motif” from section to section. Throughout the piece, the ensemble can explore both technical and lyrical passages that often quickly transition between each other. The work ends with similar musical material from the beginning, giving the piece a sense of closure and finality.
Brian Hogg - Wonder
Program notes: Wonder attempts to capture the feeling of being filled with awe, a feeling of amazement, or to simply marvel at something beautiful, remarkable, or interesting.
Carol Brittin Chambers - Alegría
Program notes: This exotic and cinematic gem is a joyous celebration of life and happiness. Drawing inspiration from the word’s meaning in several languages, the music takes listeners on a journey of ups and downs, with moments of high energy and lightheartedness. With a nod to circus music and Latin fanfares, this work showcases skillful use of instrumentation.
Michael Markowski - Ekklesia
Program notes: Ekklesia was first conceived as a piece for choir with original text by Andy Wilkinson. The title (pronounced in English as ehKLEE-zee-uh, or in the original Greek as eh-klay-SEE-ah), refers to a place where people would assemble for a common purpose - perhaps to think, to pray, or to debate. Here, in this piece, we gather simply to sing, to make music, and to celebrate our togetherness while we can.
Michael Oare - Across the Desert Sands
Program notes: Across the Desert Sands takes young musicians and audiences on a captivating musical journey inspired by the vast landscapes and rich culture of desert dwelling peoples. This engaging piece is tailored for middle school and early high school level bands, providing both a rewarding challenge and an opportunity for musical exploration. Through this piece, students can develop their technical skills, ensemble playing, and an appreciation for the rich tapestry of world music.
Nicole Piunno - With Love and Grace
Program notes: With Love and Grace is a musical representation of a closing salutation. It can be a way of saying thank you or expressing honor for a special occasion. It can be a way of expressing forgiveness or saying goodbye. It can also signify the closing of a chapter in life. The music captures the complex emotions that often accompany these significant life changes
or important moments.
Steven J. Pyter - Joy Cometh in the Morning
Program notes: “Weeping may endure for a night, but joy cometh in the morning.” This psalm verse serves as inspiration for the contemplative new concert band work, although the music is not intended to be especially religious or spiritual. The piece evokes a sense of hope in spite of adversity, courage in the face of fear, and healing in the wake of tragedy.
Robert Sheldon - Cherished
Program notes: Cherished is a beautiful musical message of gratitude that alternates between moments of vulnerability and powerful passages reflecting comfort and trust. Soaring phrases combine with ever-changing chordal progressions, resulting in steady waves of color and harmonic changes that sound complex yet are quite playable.
Click on each piece in the bracket to listen and view the score, and fill in your bracket. I hope you all enjoy these pieces as much as I have. They all are wonderful additions to our repertoire. I’d love to hear feedback and even see your brackets!
Dr. Jeremy Stovall Assistant Director of Bands Associate Professor Jacksonville State University jstovall@jsu.edu
BEST COMPOSITION OF 2024
GRADE 2 vs GRADE 3
GRADE 2
CHAMPION
GRADE 3
Tyler S. Grant Under the Ice Joshua Hobbs Always
Timothy Loest Skedaddle
Yukiko Nishimura Blessing Wind
Adrian B. Sims Machines of Wrath
Randall Standridge Stay
Jorge Vargas Fiesta!
Christopher Artau Scarlett Echoes
Carol Brittin Chambers Alegría
Michael Markowski Ekklesia
Michael Oare Across the Desert Sands
Robert Sheldon Cherished
Nicole Piunno With Love and Grace
Brian Hogg Wonder
Steven J. Pyter
Joy Cometh in the Morning
Jazz Listening Review
Greetings! We each share 3 albums that personally affected the trajectory of our careers and our choice to become Jazz Educators. These albums shaped our approach to listening to, arranging/composing, teaching, and playing Jazz. We hope you enjoy it!
Chris Kozak Director of Jazz Studies, The University of Alabama
Throughout my journey as a professional performing musician and Jazz educator, the importance of sharing music that inspires us has always been clear to me. The historic albums recommended to me by my friends, peers, teachers, and mentors have become part of my listening repertoire. The following albums are just a few that made a lasting impression that I discovered while studying Jazz as an undergraduate. It’s purely coincidental that my selections are all trumpet players. I’ll spread the love around next time, I promise.
Dave Douglas, “In Our Lifetime” –This 1995 album originally released on the New World Label and tribute to Booker Little, is a mainstay in my collection. I was fortunate to see this very group performing live at the “Magic Triangle Series” on the campus of UMASS-Amherst shortly after its release. It was because of their performance that I immediately picked up the album that night from the artist. The album was true to the live performance with the on-the-whim time signature changes of “Out in the Cold”, the wistful,
chamber like sonorities that spiral out of the free improvisation at the top of title cut “In Our Lifetime”, and the cohesive way Douglas composes yet allowing his band the space to interpret the music on “Forward Flight,” just to name a few. All throughout the album you can hear how they are truly connecting through the music as it takes you on some wild twists and turns. Outstanding solos throughout by Douglas on trumpet, Josh Roseman/ trombone, Chris Speed/Tenor Sax, Marty Ehrlich/Bass Clarinet, as well as a fiery performance by rhythm a section of Uri Caine/Piano, James Genus/Bass, and Joey Baron/Drum Set. Their interpretations of each piece got me thinking more about how to listen to soloists in a free solo environment while remaining within the confines of a formal structure. I aspired to write like Douglas and play like Genus for many years and still do, to this day. It’s as exciting and fresh to listen to now as it was the day I dropped it in my car CD Player. That live performance and album changed my musical path in a way I couldn’t have anticipated.
Kenny Wheeler,
“Music
for Large and Small
Ensembles” – This masterpiece released in 1990 on the ECM label by Canadian born trumpeter, flugelhornist, and composer wasn’t my first time hearing his music, but it was a polarizing shift from what I had already come to know about his unique take on harmony and improvisation in mostly small groups. His albums
by The Jazz Collective
“W.W.”, “Gnu High”, and “All the More” had already held a firm place in my rotation but this 2-CD offering was the first time I heard his writing for a larger group. (He did write for the John Dankworth Orchestra on the 1968 release “Windmill Tilter” but I had not heard that until after this album.) “Part I – Opening”, “Part II For H”, and “Part III – For Jan” all movements from the “The Suite Time Suite” are some of my favorite compositions of all time. The vocalese-style lines sung by Norma Winstone are a haunting scene of beauty that I hadn’t heard until then. Again, Kenny was another artist that heavily influenced my writing and playing that I could only hope would emerge at some point in my musical voice. While CD1 is my favorite, there are a few more larger ensemble pieces on CD2 and then smaller configurations using the same rhythm section players as the larger pieces to create a Quintet with Kenny Wheeler/Flugelhorn, John Abercrombie/Guitar, John Taylor/ Piano, Dave Holland/Bass, and Peter Erskine/Drum Set. The playing throughout is still familiar territory from his other releases and is outstanding. Hearing this album led me to check out his work with the trio, “Azimuth” with Norma and John Taylor since I had never heard her work before this.
Terrence Blanchard, “The Malcom X Jazz Suite” – Terrence Blanchard has made his mark on Jazz and the music world as not only a virtuosic trumpeter
but a composer as well. His scores for television and film as well as two operas prove he is multifaceted beyond the genre. I was introduced to this album by a roommate in college. Terrence had written the original soundtrack for Spike Lee’s “Malcom X” and released this album in 1993 of the most prevalent themes orchestrated for Jazz Quintet. The playing and communication on this album sounded like something I had been chasing for years. I was entranced by how bassist Tarus Mateen and drummer Troy Davis had undeniable authority and bounce in their time, pulse, and communication. Terrence on trumpet and Sam Newsome on tenor play some wonderful solos but I was drawn to pianist Bruce Barth’s (incorrectly listed as Bruce Bath on the album) playing most of all. His comping, voicings, and his lyrical approach to soloing captivated me. The one tune I couldn’t stop listening to was “Malcom’s Theme.” The almost telepathic communication from soloist to soloist and between the rhythm section is remarkable. Barth’s solo on that particular track is probably one of my top 5 favorite piano solos of all time. This album helped shape how I approach small group playing for years to come.
These are just a few of the albums that helped shape my musical direction. I still enjoy listening to them to this day as new things pop out that I haven’t noticed before. I hope you’ll check them out.
Dr. Andy Nevala Director of Jazz Studies, Jacksonville State University
There are a few albums that when I first heard them, I remember exactly where I was, what time of the day it was, what the weather was like at that instant, what I had for lunch that day, who just won the super bowl, and what I was wearing.
One of the most important and first Jazz Albums I ever bought was the “Chick Corea Akoustic Band”, which turned out to be the 1990 Grammy Award Winner for Best Jazz Instrumental Performance. I was a late bloomer in Jazz, as my high school didn’t have a jazz ensemble, and had just started getting into jazz piano when this album came out. It had the traditional piano, bass, drums, but they were playing in a modern contemporary way, that was fresh to me. Chick Corea on Piano, John Patitucci on Bass, and Dave Weckl on Drumset. The mix was excellent as well - when I listen to a studio recording, I want to be able to play it loud, through great speakers, and experience the full dynamic range (that you don’t hear in the streaming services), where you can “feel” the kick drum and bass, hear the stick hit the ride cymbal, close your eyes and place yourself in the room when they were recording.
I immediately began trying to transcribe these songs to play in the combo I was playing in at the time, which led me down the path to doing that with my own groups today. I spent hours playing along, putting myself “in the band”, getting lost in the music. I was still listening to the historical jazz albums that were part of my education and lessons, but this “Akoustic Band” was what I wanted to be playing, and lit a fire under me.
I’ll combine the next most important Albums that influenced me: Out of the Loop (1994) and Tales From the Hudson (1996). Out of the Loop won the Brecker Brothers two Grammy Awards for Best Contemporary Jazz Performance (now known as Best Contemporary Jazz Album) and Best Instrumental Composition (for Michael Brecker’s “African Skies”). On Tales From The Hudson, Micheal Brecker also won two Grammy awards in 1996 for Best Jazz Instrumental Solo (for his solo on “Cabin Fever”) and Best Jazz Instrumental Album, Individual or Group.
The infectious grooves on Out of The Loop was the first time I was really drawn into the “Fusion” genre. I can put this CD in the player, and I still get energized the same as the first time I heard it 30 years ago. The playing was top notch, the production was excellent, and the mix was perfect. The soloing on this album gives a nod to the traditions going back to the early BeBop musicians of the 1940’s, with the added contemporary harmonic approach those guys were exploring at this time. My first thought when I heard this album was, “Jazz can do that?”. Yes. Yes it can.
Tales From the Hudson featured Michael Brecker on tenor saxophone, Joey Calderazzo and McCoy Tyner on piano, Pat Metheny on guitar, Dave Holland on bass, Jack DeJohnette on drums, and Don Alias on percussion. This Album had elements of Fusion, but was partly in the straight-ahead mold on some of the tracks. We transcribed these songs and played them in our groups, and only then did we truly understand the difficulty and high musicianship level it took to play these songs. A tremendous learning experience that I try to instill in my students at JSU.
The next group of influential Jazz albums in my journey are all connected to the same artist: Jazz Pianist Herbie Hancock. When I get asked what my favorite jazz recording is to listen to, often I say “anything that has Herbie Hancock playing on it”. Herbie was part of the Miles Davis groups that pushed the boundaries of improvisatory group playing in the Miles Davis Quintet in the 1960’s, then followed Davis into the Fusion genre of the 1970’s. Herbie also composed music for films, was one of the first to explore electronic keyboards, has won countless grammys for solos, arrangements, albums, and is still active today. His soloing style is a mix of Bebop, quartal harmony, and freedom from all rules that would be flagged by the jazz police of the world: time, harmony, melody, he is doing
his own thing, and it’s marvelous.
One album, that might be an easier one to start with to introduce yourself to Herbie, is Gershwin’s World (1998).
This album starts with a piano-roll recorded by George Gershwin himself, then transitions into a mix of orchestra, jazz trio, and contemporary arrangements of George Gershwin, with Jazz solos by Herbie on nearly every song.
The Album that had the biggest effect on my path, due to when it came out and where I was at that time, was The New Standard (1996).
This album featured Michael Brecker, guitarist John Scofield, bassist Dave Holland, percussionist Don Alias and drummer Jack DeJohnette. It’s high energy, every song has great solos, and every song is a great arrangement. Great for listening to modern Jazz Improvisation. Many of these solos have been transcribed and are available for download.
Of course, it goes without saying that these aren’t more important than other albums in the history of jazz. These are just a few that have inspired me, based on where I was at that place in time. The great thing about Jazz is there are so many great musicians throughout history that there is something for everybody. Find your own favorites!!
Dr. Steve Roberts, Director of Jazz Studies, University of Alabama at Birmingham Wynton Marsalis – Standard Time
Wynton Marsalis stands as an unparalleled figure in the world of jazz trumpet, arguably the most prominent classical and jazz trumpet player of my lifetime. His influence on both my personal musical development and the broader jazz community is profound. As a young trumpet player, I found it impossible to ignore the impact of Marsalis’s work, particularly in the formative years of my career. One of the seminal moments in my musical journey occurred when I was introduced to his highly virtuosic classical album Carnaval(1987). The album, a showcase of his technical prowess and adventurous approach to sound, ignited my fascination with his work. However, it was Standard Time, a jazz album also released in 1987, that truly exemplified his capacity for musical innovation. Featuring Marcus Roberts on piano, Robert Leslie Hurst III on bass, and Jeff “Tain” Watts on drums, the album received critical acclaim, culminating in the 1988 Grammy Award for Best Jazz Instrumental Performance, Group.
Standard Time is a definitive example of Marsalis’s ability to reimagine the jazz standard. In this album, he takes well-known compositions and imbues them with a fresh, modern sensibility. A particularly striking example is his rendition of “Autumn Leaves,” which is transformed into a breathtaking exploration of harmony and rhythm, with his rhythm section providing seamless support throughout. Marsalis’s trumpet sound, famously smooth and buttery, is on full display here, paired with his mastery of intricate, extended phrases. The technical brilliance of these phrases is not simply a demonstration of skill but a testament to his command over the trumpet, as many of these passages likely rely on circular breathing techniques, an advanced skill that allows for uninterrupted phrases and an almost ethereal continuity of sound.
Marsalis’s approach on Standard Time goes beyond technical proficiency; it is a profound expression of artistic depth and innovation. His interpretations of these jazz standards both honor the tradition and
push it into new territory, offering a blueprint for future generations of trumpet players and jazz musicians alike.
Louis Armstrong – Silver Collection
The Silver Collection by Louis Armstrong offers a glimpse into a later period of the legendary trumpeter’s career, showcasing his artistry in a more introspective and refined light. The concept of liner notes, which have largely fallen out of practice in the digital age of streaming, was central to my own discovery of this album. Modern platforms, while offering convenience, often deprive listeners of the richer, more immersive experience that liner notes provide—notes that offer context, interpretation, and an intimate connection to the artist’s intentions. In particular, Wynton Marsalis’s liner notes for Standard Time 2 make reference to Armstrong’s Silver Collection as a pivotal resource for understanding the evolution of jazz standards and their interpretation.
The Silver Collection features Armstrong during what is often referred to as his “silver” years—his later career, when his playing was more restrained and nuanced compared to his earlier, more exuberant performances. Despite the physical limitations that age may have imposed on his trumpet technique, Armstrong’s command of time, phrasing, and emotional expression remains unmatched. In tracks such as “Have You Met Miss Jones” and “Body and Soul,” Armstrong demonstrates his unparalleled ability to shape and manipulate phrasing with a sense of swing that is both effortless and deeply personal. His approach, especially as a singer and trumpeter, exemplifies a rich simplicity that speaks volumes within the context of his later career, providing timeless lessons in phrasing, breath control, and the art of delivering a song with sincerity and grace.
Roy Hargrove – With the Tenors of Our
In the early 1990s, the emergence of Roy Hargrove marked a significant moment in the evolution of jazz trumpet. In 1994, the New York Times published an article about Hargrove, highlighting him as one of the most exciting and promising young trumpet players on the scene. This article proved to be a turning point not only for Hargrove’s career but for my own musical trajectory. Encouraged by the article, my parents purchased Hargrove’s album With the Tenors of Our Time, a landmark recording that paired the young trumpeter with some of the greatest living tenor saxophonists of the time. This album, which blends Hargrove’s lyrical trumpet with the fiery energy of tenor sax legends, would go on to have a lasting impact on my musical development, cementing Roy Hargrove as one of my foremost musical influences.
With the Tenors of Our Time stands as a testament to Hargrove’s versatility and mastery of both the trumpet and the broader jazz idiom. One of the album’s most striking aspects is Hargrove’s ability to embody the spirit of the blues while demonstrating an acute awareness of harmonic and melodic sophistication. Tracks such as the upbeat “Soppin’ the Biscuit,” which features tenor saxophonist Stanley Turrentine, and the soulful “Greens at the Chicken Shack,” with Johnny Griffin on tenor, evoke the sound of Hargrove’s mentor, Wynton Marsalis, while simultaneously pushing the boundaries of tradition. The album showcases not only his command over the trumpet but also his ability to bring a modern, blues-infused edge to jazz, particularly through his articulate, high-energy phrasing.
Equally impressive are the album’s more introspective moments, particularly on tracks such as “When We Were One” and “Never Let Me Go,” where Hargrove’s flugelhorn playing shines with unmatched warmth and smoothness. These tracks are exemplary for students of jazz trumpet, serving as prime examples of the evolution of trumpet tone and style in the postbop era. For me, Hargrove’s work on With the Tenors of Our Time serves as a modern model of jazz trumpet playing, blending traditional influences with a contemporary voice, making him a quintessential figure
in the development of mainstream jazz trumpet in the late 20th century.
Dr. Dave Camwell, Director of Jazz Studies, Troy University
Bela Fleck and the Flecktones - Live at the Quick
If there was ever an album that would immediately capture the attention of our iPhone obsessed students, THIS would be the one. It is a remarkable album that combines bluegrass, jazz, rock, indian music and folk in a wonderful way. The playing is absolutely sublime, tackling beautiful originals as well as extensive covers of classical music such as Copland’s Hodown. Bass player Victor Wooten’s amazing solo on Amazing Grace will 100% mesmerize your band, or I will give you $1000 of Kohl’s cash, no questions asked. This album is truly remarkable - just listen and you will see!
Mike Stern - Voices
I’m not sure I know of a more beautiful and exciting jazz CD than Mike Stern’s Voices. It features a typical all star cast, with Richard Bona and Micheal Brecker being especially amazing in their extroverted musical way. The tunes are fresh, exciting, beautiful, crafted, and expertly produced. This is a jazz fusion album all the way, and is the exact kind of music that would turn students on to jazz. The solos are fire, the melodies are memorable, and it’s simply sublime music making at its highest level.
Alain Caron - Play
Alain Caron is a virtuoso bass player based in Canada, now playing with some of the largest jazz fusion stars in the world. This album is from 1997, but holds up amazing well. Accompanied by stellar band mates, Caron’s tunes are imaginative, exciting, and feature some truly relentless grooves and solos. It would be hard to think of an album that would be more accessible to high school music students wanting to hear something that proves jazz can be “cool”. The bass playing, both melodic, groove, and slapping, is unbelievable and must be heard to be believed. This is an album that will leave a lasting presence with your students. I highly recommend this album, and many others, including the great Canadian fusion band that Caron found, UZEB.
AMEA DIVISION EVENTS 2024-2025
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Solo and Ensemble #1 W.S. Neal High School May 3, 2025
