May/June 2018 Ala Breve

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May/June 2018

ala breve The Official Publication of the Alabama Music Educators Association

If You Build It, Will They Come?

by Kay Dick p.

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Keep Calm and Teach

by Phil Wilson p.

32

Creating a Practice Culture

by Colin Hill p. www.myamea.org

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The University of South Alabama Department of Music, through its innovative curriculum, empowers professional musicians, music educators, and those who wish to enrich their lives through the arts. The Department serves the needs of the University to promote general education and to provide a vital cultural link to the great state of Alabama and to the Gulf Coast region. Its excellent facilities and faculty, promotion of technology, and dedication to life-long learning provide a wide spectrum of experiences for both the student and the community.

Ensembles INSTRUMENTAL Wind Ensemble Symphony Band University Band Symphony Orchestra String Ensemble Jaguar Marching Band Jaguar Pep Band Jazz Ensemble VOCAL University Chorale USA Opera Theatre USA Concert Choir

CHAMBER Flute Choir Clarinet Ensemble Trumpet Ensemble Trombone Ensemble Tuba Euphonium Ensemble Chamber Brass Ensembles Chamber Woodwind Ensembles Percussion Ensemble USA Steel Band USA World Music Ensembles Piano Ensemble Guitar Ensemble

Degrees BM with Concentration in Music Education (Instrumental or Vocal) BM with Concentration in Performance (Instrumental or Vocal) BM with Concentration in Elective Studies (Business)

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AUDITION DATES DATES AUDITION JJanuary anuary y 13, 2018 20 February F ebruary y 3, 2018 20 March M arch 10, 2018 April 14, 2018 For For more more Inf Information ormation about AUDITION AUDITION DATES, DATES, c call all 251-460-6136

Contact Information University of South Alabama, Department of Music | Laidlaw Performing Arts Center, Room 1072 5751 USA Drive South, Mobile, AL 36688 | (251) 460-6136 | E-mail: usamusic@southalabama.edu www.southalabama.edu/music | Facebook: facebook.com/southalabamamusic

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at UAH...

FROM HANDS-ON TO HIGH-TECH

DISCOVER MORE

UAH.EDU/MUSIC

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ala breve May/June 2018

the official publication of the Alabama Music Educators Association Features...

8

AMEA Governing Board Directory

18

Phi Beta Mu Tips That Click

20

Why I Want to Be a Band Director by Madaleine Worley

22

Industry/Institutional Members

27

Meet the New AMEA Governing Board

28

If You Build It, Will They Come? by Kay Dick

32

Keep Calm and Teach by Phil Wilson

35

Choral Music Reviews by Diane Orlofsky

36

Noteworthy: TCHS Music Education Innovator Grant Recipient

39

Band Music Reviews by Randall Coleman

42

Creating a Practice Culture by Colin Hill

Departments...

Advertisers Index

Smoky Mountain Music Festival................7

American College of Musicians ...............39

UA Bands .................................................38

Arts Music Shop, Inc ..................back cover

UA School of Music .................................47

9 ............Past Presidents

Faulkner University ..................................46

UAB Music...............................................45

Gadsden Music Company.........................23

UAH Music ................................................4

10 ..................Elem/Gen

Huntingdon College Bands.......................26

UNA Department of Music ......................37

John M. Long School of Music (Troy).....12

University of Montevallo .........................24

NAfME Academy.....................................40

University of South Alabama Bands ........25

NAfME Amplify ......................................21

University of South Alabama Music ..........3

NAfME National Conference...................41

Yamaha.....................................................11

6 .....................President 9 ............................HED

13...........................AOA 14 .............................AVA 15 ...........................ABA ala breve

Samford University ....................................2 5

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Susan Smith, AMEA President

“Everybody can be great… because anybody can serve” - Martin Luther King Jr. As I write my final article as President of the Alabama Music Educators Association, I am struck by how quickly the time has raced by and how many things have changed in our profession and daily life in the last two years. It has been a true honor to serve the music educators of our state and I appreciate the opportunity given by the membership. My journey of teaching and leadership has been molded by teachers, colleagues, mentors and family who have often said just the small things to keep me centered. An encouraging word or a moment of interest and support might be just the thing we each need. What we do as music teachers is valid and important - I have never been more convinced of this. I have been guided by a few phrases that I hope will be helpful or interesting to you as you step into the classroom each day.

Keep moving forward - Some days this is all we need to get us through.

Get 1- 3 things done a day - We all get overwhelmed by having so much on our plate. If we can focus on completing just a few things, we will feel confident and successful. I love to check something off a list!

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Teach for the long haul - My mom was a music teacher her entire life and this was a big piece of her teaching philosophy. We sometimes make decisions or react in ways that might seem the easiest or most efficient route in the moment. However, in the long run, this might not be wisest course of action. Be careful to not allow short term outcomes override long term goals.

Don’t always apologize - As teachers and servant leaders we sometimes take the blame for things that aren’t our fault, or we apologize just to make someone else feel better. This is something I have learned through the strength and guidance of my daughters.

Celebrate successes but never be satisfied - As music teachers, we must be our own marketing team and tell all about the successes of our students and programs. We are our own best advocates and should tell those in our communities. Standards of success should be something that changes and continues to move forward. Don’t ever be satisfied!

You deserve to be appreciated Sometimes it is easy to be caught in the

mindset that music is a service only to a community and not an academic venture with standards and rigor. We can feel under-appreciated as teachers and administrators. Support other teachers and this will come back many times over.

Don’t burn bridges - We are faced daily with outside negativity or challenging circumstances as teachers. It is tempting to say or email something we might regret as a reaction. Try to count to ten or run it by someone you trust before hitting send!

Model who you want those around you to be - I see so many wonderful educators in all fields I want to emulate.

Our students look up to us. If we don’t like their behavior or reactions, we should take a moment to evaluate our own.

Find a hobby - Our jobs can be so allencompassing that we forget to care for ourselves. One of my mentors, Linda Gammon, taught me that having a hobby or interest outside of music is important to keep a fresh outlook as a teacher.

Every child deserves a champion You might be the only person who sees value in a child. Take that responsibility seriously. When they try your patience, wipe the slate clean and start over tomorrow. My husband Robert often says “Be on the lookout for Mozart.”

We might have a Mozart in our class and we need to nurture and foster that talent.

As teachers, we choose a career of servant leadership by the nature of the job. We try to leave things better than we found it. Along the way we make a lasting impact on our students, communities and families. It isn’t always easy and sometimes it doesn’t seem worth it. However, all it takes is that one lightbulb or “thank you” to make it all worthwhile. AMEA is a strong organization because of the May/June 2018

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leadership of those who have come before and will continue to thrive if YOU become involved and help guide the future path. I hear people say “I don’t know how to get involved” or “there is no place for me.” Here are some ways to get started making a connection to the state music organization: Attend an AMEA Professional Development Conference - While we always have good attendance at the conference, we want a larger percentage of the music teachers in the state to benefit from the information and performances shared. Encourage a colleague in your area or a younger teacher to attend as well.

Apply to present at conference - Our application process is live and available on the www.myamea.org website. We are accepting applications for educational sessions and ensemble performances until June 1. We will also be gathering applications through October 1st for our Lightning Round session which includes 6-10-minute sessions. We are also accepting applications for small ensemble chamber performances. If you have a great idea to share, this is the place!

Start a Tri-M Music Honor Society Chapter - This is great way to grow support for the music program at your school and to encourage collaboration within the arts programs. It can also bring recognition for your students at the level of the other academic honor societies in your school. High School and Junior High School chapters alike can bring schools together with very little effort and highlight what you are doing in your music program.

Support a collegiate CNAFME chapter - If you have a college CNAFME chapter near you, invite them into your classroom for hands-on experience. You might also offer to speak to the group about what you do in the classroom each day. ala breve

“Some people give time, some money, some their skills and connections, some literally give their life’s blood. But everyone has something to give.”

- Barbara Bush Division clinics and service - Each of our AMEA Divisions offer multiple sessions and clinics throughout the year.

From the Elementary Orff and Kodaly workshops to the All State Choir or Orchestra Festivals and Summer ABA Conference, there are many chances to make connections and get involved. We are always looking for those to serve as district officers and state officers and that level of service usually starts with moving a riser or music stand and pitching in at an event.

Congratulations to our new PresidentElect, David Raney and Recording Secretary, Carla Gallahan. Your willingness to serve is much appreciated.

Special thank you to the most recent Past Presidents, Dr. Carl Hancock and Dr. Sara Womack for their guidance and patience. Thank you to Greg Gumina for your help and support and your never-ending optimism. The calming daily leadership of Garry Taylor has guided each president during his tenure and the strength of the organization is a direct result of his steadfast commitment to the betterment of music education in Alabama.

Finally, thank you to my family for your support and ability to focus my daily walk. I appreciate the time you have given up in the interest of AMEA and for your constant love and encouragement.

Remember to get involved and teach for the long haul!

Susan

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AMEA Governing Board 2017-2018 President Susan Smith 104 Smith Hall Troy, AL 36082 (334) 670-3322 president@myamea.org Immediate Past President Carl Hancock University of Alabama Box 870366 Tuscaloosa, AL 35487 (205) 348-6335 past_president@myamea.org President, AOA Samuel Nordlund 405 Buchanan Hall Samford University 800 Lakeshore Dr. Birmingham, AL 35229 snordlun@samford.edu President, AMEA Collegiate Jordan Hare jhare1@forum.montevallo.edu

Industry Representative Becky Lightfoot Arts Music Shop 3030 East Blvd.

Montgomery, AL 36116 334/271-2787 beckyl@artsmusicshop.com Executive Director Editor, Ala Breve Garry Taylor 1600 Manor Dr. NE Cullman, AL 35055 (256) 636-2754 amea@bellsouth.net

Garry Taylor, Editor & Advertising Manager 1600 Manor Dr. NE Cullman, AL 35055 (256) 636-2754 amea@bellsouth.net

President-Elect Greg Gumina Shades Valley High School 6100 Old Leeds Road Irondale, AL 35210 (205) 956-4638 president_elect@myamea.org

Recording Secretary Carla Gallahan 113 Long Hall Troy University Troy, AL 36082 (334) 670-3502 recording_secretary@myamea.org

President, AVA Ginny Coleman Tuscaloosa County High School 12500 Wildcat Drive Northport, AL 35475 (205) 342 2670 gcoleman@tcss.net

AMEA Collegiate Advisor Edward (Ted) Hoffman University of Montevallo Station 6670 Davis Music Building 308 Montevallo, AL 35115 (205) 665-6668 ehoffman@montevallo.edu

Assistant Executive Director Rusty Logan 2020 Janabrooke Lane Auburn, AL 36830 (334) 663-1702 rlogan9853@gmail.com

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

President, ABA Doug Farris Brewer High School 59 Eva Road Somerville, AL 35670 (256) 621-0540 djfarris@morgank12.org

President, Elem/Gen Phil Wilson Ogletree Elementary School 737 Ogletree Road Auburn, AL 36830 prwilson@auburnschools.org

President, Higher Education Becky Halliday University of Montevallo Department of Music Davis 317 Montevallo, AL 35115 (205) 665-6666 AHalliday@montevallo.edu

Alabama Department of Education Arts Education Specialist Andy Meadows 50 North Ripley Street Montgomery, Alabama 36104 (334) 353-1191 ameadows@ALSDE.edu

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

Unless otherwise indicated, permission is granted to NAfME members to reprint articles for educational purposes. Opinions expressed in this publication are not necessarily those of AMEA or the Editor. All announcements & submissions are subject to editorial judgement/revision.The Alabama Music Educators Association is a state unit of NAfME: The National Association for Music Education, a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME/AMEA membership is open to all persons engaged in music teaching or other music education work.

Ala Breve is published four times a year (August, October, February & May) by the Alabama Music Educators Association and printed by Hardwick and Son Printing in Dothan, Alabama.

Subscription for members is $4.00 per year as part of annual NAfME/AMEA dues. Subscriptions for non-members is $15.00 per year. Bulk rate postage paid at Dothan, Alabama.

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Becky Halliday - President, Higher Education Division

Benefit from Professional Development and Summer Programs As we approach the end of the 2017-2018 school year, I would like to wish the AMEA membership a happy summer. Many of the institutes of higher education offer professional development and summer programs to develop musicianship in people of all ages. I hope you will visit the websites of our Alabama colleges and universities to see if you and your students can benefit from these opportunities.

The Higher Education Division continues to grow and develop as we strengthen our collaboration with the Collegiate Division. Our combined mixer and the HED recitals at the

AMEA conferences have given faculty and students opportunities to interact in a variety of settings. In addition, our membership throughout the state continues to grow as more faculty members see the benefits of joining our organization.

During my time as President, I have enjoyed working with the HED and the AMEA Executive Council, and I look forward to supporting the vision of the incoming officers: Mildred Lanier, President; Katrina Phillips, President-Elect, and Secretary-Treasurer Michael Zelenak.

AMEA Presidents - Past to Present 1946 Yale H. Ellis

1972 Frances P. Moss

1996 Johnnie Vinson

1948 Walter A. Mason

1974 George Hammett

1998 Michael Meeks

1950 Vernon Skoog

1975 Frances P. Moss

2000 John McAphee, Jr.

1952 John J. Hoover

1976 S. J. Allen

2002 Tony Pike

1954 Lamar Triplett

1978 W. Frank McArthur

2004 Becky Rodgers

1956 Carleton K. Butler

1980 Paul Hall

2006 John Baker

1958 Mort Glosser

1982 Lacey Powell, Jr.

2008 Pat Stegall

1960 Wilbur Hinton

1984 Johnny Jacobs

2010 Steve McLendon

1962 Lacey Powell, Jr.

1986 Merilyn Jones

2012 Sara Womack

1964 G. Truman Welch

1988 Ronald D. Hooten

2014 Carl Hancock

1966 Jerry Countryman

1990 Ken Williams

2016 Susan Smith

1968 Floyd C. McClure

1992 Dianne Johnson

2018 Greg Gumina

1970 Jerry Bobo

1994 James K. Simpson

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Phil Wilson - President, Elementary/General Division

Sharpen Your Saw! Dear Elementary Friends, Abraham Lincoln, 16th President of the United States once said, “Give me six hours to chop down a tree and I will spend the first four sharpening the axe.”

President Lincoln was “sharp” enough to realize that a dull axe would not effectively do the job he was aiming to do. The same can be said for us. After more than nine months of planning, teaching, smiling, wiping tears and noses, clapping, singing, dancing, learning, playing instruments, laughing, and collaborating, it is time for you to sharpen your saw. In his book the 7 Habits of Highly Effective People, Stephen Covey suggests that highly effective people spend time Sharpening Their Saw, meaning they take time to rest, rejuvenate and begin making plans for the new year. As you enjoy the summer months, take time to reflect on who you are as a music educator, and how your students benefit from your presence in their lives. A little reflection will surely inspire you to return to your school in the Fall with a renewed purpose to educate as you never have before…. because your students deserve it.

For your planning purposes, we are pleased to announce that our annual Elementary Music Festival will be on Friday, October 12 on the campus of Samford University. In honor and celebration of Alabama’s Bicentennial, our festival director Cliff Huckabee has arranged to have two directors with deep Alabama roots. Dr. Damion Womack, assistant professor of music at Huntingdon College, will be directing one ensemble with a choral emphasis, while Mrs. Rhonda Tucker, retired Alabama educator, will be directing the 10

Orff emphasis ensemble. Your students are sure to gain great knowledge in either ensemble. There is limited space available for your students, so be sure to sign up early at www.tinyurl.com/ameafestival2018.

We are also excited to learn from Mrs. Rhonda Tucker at our joint Fall Workshop on Saturday, October 13. This workshop is a great opportunity for music educators to learn together under the leadership of an expert. Stay tuned for details on time and location.

Other activities to sharpen your saw this summer include: Orff-Schulwerk Levels I and II Certification will be June 18-29 at Samford University. The instructors are Erika Bridge, Brent Holl, and Rachel Aupperle. For more information, please contact Larry Hardin at lhardin@samford.edu for more information.

Take time to reflect on who you are as a music educator, and how your students benefit from your presence in their lives.

Kodaly Levels I and II will be July 9-20 at St. Luke’s Episcopal Church in Mountain Brook. For more information, please contact Dr. Becky Halliday at ahalliday@montevallo.edu The East Alabama Music Workshop will be held at Grace United Methodist Church in Auburn August 25, 9 a.m. till 1 p.m. Contact Dr. Rob Lyda at lydarob@me.com for more details.

We are working to provide meaningful opportunities for you. If you have ideas or suggestions, please be sure to share them with us. We will also be updating our email database soon.

We want to hear from you! If you have not been receiving emails from us, please send an email to elementaryamea@gmail.com, and we’ll be sure to add you to our mailing list.

Happy sawing and well wishes, Phil Wilson, President Elementary/General Division

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Samuel Nordlund- President, Alabama Orchestra Association

Passing the Baton the process of planning the 2019 OMPA, and we anticipate continued growth in numbers and quality of programs around our state.

Greetings, Music Educators!

As we all look forward to summer, we will also hopefully be able to look on the progress we have made this year, with pride. Since the 2018 AMEA Professional Development Conference, the AOA has presented the 2018 All-State Orchestra Festival, and the 2018 statewide OMPA. With record numbers of auditions and accepted students, All-State Orchestra was again a splendid success. We welcomed three esteemed conductors to Tuscaloosa, including Oregon Symphony Orchestra Associate Conductor and UA Music Ed alumni, Norman Huynh. Incoming AMEA President, Gregory Gumina, even made a cameo as guest conductor with the Festival Orchestra, leading his arrangement of “Alabama” in honor of the Bicentennial celebrations. Our biggest concern for the festival was the flu epidemic that was so prevalent this year, but thankfully, the large majority of our students and clinicians were able to stay happy and healthy.

This past April 6th, school and youth orchestras from across the state converged on Samford University in Birmingham for our third annual OMPA. The Auburn University Youth Orchestra Sinfonia and the Orchestra at Ramsay High School both earned “straight ones,” and several other ensembles earned overall Superiors. Congratulations to all the outstanding performers and directors! The AOA is already in

During the All-State Festival in February, AOA held elections for Executive Board positions coming open on June 1. On that date, Dr. Guy Harrison will officially take over as President. The AOA Board is excited to announce that Dr. Daniel Stevens will move from Secretary to VicePresident/Pres.-elect, Jacob Frank will remain on as Treasurer, and Rachel Christmas, orchestra director at Carver High School in Birmingham, will assume duties as AOA Treasurer. I am extremely proud to pass AOA leadership on to such capable individuals, whether new to AOA, or just in a new position! Julie Hornstein, our constant steadying force, continues to serve as AOA Executive Director.

As I sign off on my final article as AOA President, I want to thank you for your support of Music Education in Alabama, and for reading my articles. I hope I have been able to share my passion for growing orchestra and string programs in Alabama. All that has been accomplished in my two-year tenure would not have been possible without the expertise and teamwork from the entire AOA family. I am looking forward to a bright future for orchestra students, teachers, and programs across Alabama, as our new leadership continues moving forward!

Scenes from AOA All-State

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Ginny Coleman - President, Alabama Vocal Association

END-OF-THE-YEAR WRAP UP As the school year comes to a close, and my time as AVA President comes to an end, I have spent some time reflecting on the work that we have done over the past few years. I am proud of the advances that our organization has made. We have increased our efficiency through the use of technology, focused on our mission statement, and worked to reach out to the membership. We have also looked closely at our policies and made improvements where necessary. Although we have made improvements, there will always be work to do, and I hope that you will also consider serving this organization that provides so many opportunities for your students. I appreciate the opportunity to have served as AVA President for the past two years. I am looking forward to continuing to serve in a different capacity.

ALL-STATE It was so nice to see many of you at the All-State festival in March. I appreciate all those who served as concert coordinator, choir coordinator, attendance monitor, or in any other capacity to be sure that everything ran smoothly. I think that the students enjoyed their interaction with the conductors of the various choirs. I was also pleased with the final

Chloe Sneed Florence High School, Brad White, Director

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AMEA SUBMISSIONS I hope that the recordings you received from SCPA were helpful to you this year. One of the reasons that we decided to begin recording each choir is so that each of you would have a high-quality recording in the event you decided to submit to perform at AMEA. I am proud of the increase in submissions that we have had over the past several years. This increase has contributed to increased quality of performances. If you are considering this, please know that the deadline is June 1. You can find instructions on the AMEA website.

In addition, please also consider submitting to present a session if you have something of value to share. We are always looking for new ideas!

AVA BOARD As my tenure as president ends, and Meg Jones’ presidency

District 3 Outstanding Choral Students

District 1 Outstanding Choral Students Ben South Muscle Shoals High School Hannah Bradford, Director

performances.

We appreciate Samford University for once again hosting AllState. Kenny Gannon, Tim Banks, and the staff at Samford were welcoming and helpful. We look forward to being back in 2019.

District 2 Outstanding Choral Students Cole Cabiness Tuscaloosa County HS Ginny Coleman, Director McKay Medders Hillcrest High School Khristina Motley, Director

Harrison Hornsby Clay-Chalkville High School Stacy Daniels, Director Hannah Bogard Vestavia Hills High School Megan Rudolph and Gavin Dover, Directors

District 4 Outstanding Choral Students Dylan Haynes Oxford High School Holly Luke, Director Kayla Borden White Plains School Kelly Leonard, Director May/June 2018

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begins, the AVA board will welcome five new members. I encourage you to support Meg and the new board members.

Share your ideas and concerns with them. The new AVA Governing Board will meet for our summer board meeting midJune. If you have any ideas or suggestions that you would like the board to consider during our meeting time, please submit in writing before the end of May. We want to hear your ideas and suggestions for improvement.

FALL WORKSHOP Please go ahead and mark your calendars for our 2018 AVA Fall Workshop! As always, the workshop will be held on the Friday after Labor Day, which is September the 7th. We will meet in Montgomery at Huntington College so that our colleagues in the north and south of the state can all save a hotel night if needed.

COMMUNICATION Over the past several years, we have made an effort to provide the AVA membership with increased instructions and reminders about registration deadlines, etc. We occasionally get questions about where to find information. You should expect all information for all AVA events to be available on our website.

For example, if you are attending an SCPA in another district you should be able to get all information concerning the event you are attending from the AVA website. Let your district chairman know if you have difficulty accessing anything.

OUR MISSION The AVA Board is continually striving to 1) maintain adherence to our mission statement and 2) improve our functionality. Along those lines, we have begun discussion about the following:

District 5 Outstanding Choral Students Matthew Bao James Clemens High School Harris Gessner, Director Grace Collins Buckhorn High School Meg Jones, Director

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Streamlining the All-State audition process using available recording technology rather than sending 5 judges on a tour around the state Modifying the All-State audition form to a rubric-style adjudication form Modifying the sight-reading portion of SCPA to allow directors to choose an appropriate sight-reading example for their students based on students’ ability The future of All-State Show Choir and how it fits into the structure of AVA The future of Honor Choir and how it fits into the structure of AVA We are interested in thoughtful, written feedback in the form of an email to me or anyone else on the AVA Board. Please let us know if you have anything you would like to add to the conversation. Your thoughts are welcome and appreciated. You may send your questions, suggestions, or ideas to presidentofava@gmail.com.

Again, thank you for the opportunity to serve as AVA President.

And, thank you for taking the time to read about your professional association. I am looking forward to seeing you in September!

Ginny

District 7 Outstanding Choral Student District 6 Outstanding Choral Student Jean Leah Atkins Tallassee High School Michael Byrd and Amanda Anderson, Directors

Chris Richey St. Paul’s Episcopal School Jody Powell, Director Megan Matthews Alabama School of Math and Science Martha Mozer, Director

Outstanding Accompanists Rebecca Wilson Opelika High School Amy Griffin, Director Harrison Hornsby Clay-Chalkville High School Stacy Daniels, Director

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Doug Farris - President, Alabama Bandmasters Association

Band Is Alive and Well In Our Great State ALL STATE 2018 is in the books! After coming off an amazing week of All-State Band I am flooded with words to express how band is alive and well in our great state. The ABA All-State began with the Solo Festival held at Huntingdon College. The amount of talent and hard work is amazing and somehow the judges narrowed it down to seven finalists. Dalton Kulick from Hartselle High School was the winner of the finals and also received the first ABA Solo Festival Award of $500.00, which was awarded at his school on the Thursday following All-State.

The next day was filled with auditions and preparations for the rehearsals for over 650 students. Our clinicians, Col. Timothy Holtan, Julie Giroux, Rick Good and Cheryl Floyd began their rehearsals on Thursday night. This year we added clinics on Friday for the directors. The first was a front ensemble clinic with Jeff Lee from New Mexico State University through Skype and was an informative clinic on amplification of the front ensemble. Another clinic was a second part to the Middle School Coffee Talk from the AMEA conference with Brandon Peters, Leah Seng and David Caddell. It was great to hear the new ideas from the clinicians and from the participants on how to get students motivated and working.

The last clinic of the day was a district level All-State audition procedure clinic, where we discussed our plan to standardize the process each district uses to audition for All-State. The concert Friday night by the Alabama A&M Wind Ensemble conducted by Carlton Wright was not only outstanding but inspiring. Saturday’s All-State concert was filled with beautiful musical moments. There were many. All the bands did an outstanding job. One of highlights of the program was Julie Giroux’s new piece entitled “Our Castaways”, which is about the rescued animals we have as part of our families. The cover and several pages of the score are covered with the pictures of our beloved pets and the proceeds of this project will be donated to the Humane Society. All the bands were excellent and it always amazes me what our band students can and

James Champion presents the Phi Beta Mu Lamar Triplett Scholarship to , Madeleine Worley, Tallassee High School

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Solo Festival Winner Dalton Kulich, Hartselle HS

do accomplish in a matter of two days. I would be remiss if I didn’t thank Gene Butler and District 6 directors for their tireless work on the logistics of this event. Everything ran smoothly and professionally.

We have now been through an entire year under the evaluation process and the data we have collected is very eye opening. I want to thank our district chairmen and vice-chairmen for the outstanding job they do in running their districts and for completing the extra work that gathering data requires. Even though the evaluation is a 4 year cycle the board will be studying the information this summer to make sure nothing needs to be addressed sooner. The data will be available to the membership after summer conference on www.abafest.com.

As we return to our schools preparing the final concerts, testing, recruitment and graduation, don’t forget to evaluate your year- the good, the bad and the ugly. Make plans to join us in Orange Beach on June 19-21 for the ABA Summer Conference. The clinics so far are two clinics with David Gregory on working with your administration and the other on rehearsal techniques. There will be a clinic on copyright law and Andy Nevala will be presenting a clinic on teaching Latin Jazz to your high school and middle school jazz bands. With Andy’s clinic, he is asking directors to bring their instruments to be the reading jazz band for the clinic. There will be a sign up for this clinic on the registration form. Of course, we will still have the shrimp boil with the old fogey series. So make plans to join us at the beach for a time to unwind, recharge and fellowship with our ABA family. Thank you for allowing us to serve the membership as the ABA board of directors and as always, please let us know of concerns or ideas to make the organization a stronger, better ABA.

2nd Place-Landon Holladay, Alabama Christian 4th Place-Aaron Easdon, Hewitt-Trussville HS 3rd Place-Caroline Habig, Hoover HS 5th Place-David Persky, Stanhope Elmore HS

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ABA All-State Clinicians: Red Band: Colonel Timothy Holton White Band: Julie Giroux Middle School Band: Cheryl Floyd Blue Band: Rick Good

The first ABA Solo Festival Award is presented to Dalton Kulich, Hartselle High School. Pictured L to R, ABA President Doug Farris, Dalton Kulich, Hartselle City Schools Superintendent Dr. Dee Dee Jones, Randall Key, Band Director, and Jeff Hyche, Principal

1st Chair Red Band Piccolo-Kaitlyn Suttles, Helena HS; Flute-Caroline Gamard, Fairhope HS; Oboe-Rebecca Keith, Thompson HS, Bassoon-James Smelley, Hillcrest HS; Eb Clarinet-Natalie Spence, James Clemens HS; Bb Clarinet-Dalton Kulich, Hartselle HS; Alto Clarinet-Kaitlyn Stahl, American Christian Academy; Bass Clarinet-Jay Zayas, Sparkman HS; Contra Clarinet-Matthew Rocchio, Oak Mountain HS; Alto SaxTucker Hernandez, Winterboro HS; Tenor Sax-Quentin Moffet, Randolph School; Bari Sax-Grey Vanderberg, Bob Jones HS; Trumpet-Sam Butler, Fairhope HS; French Horn-Dylan Meyer, Bob Jones HS; Trombone-Michael Key, Trinity Christian; Baritone-Dominic Kuzy, Grissom HS; Tuba-Colby Batchelor-Sparkman HS; String Bass-J.T. Matthews, Vestavia Hills HS; Percussion-Trey McArthur, Saraland HS

6th Place-Zachary Chou, Vestavia Hills HS 7th Place-Alanna Bradley, Hewitt Trussville HS

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Dominic Kuzy, Grissom HS (Because of an error, Dominic was omitted from the original finals list.

1st Chair Middle School Band Flute-Wei Wei Guo, Hewitt-Trussville MS; Oboe-Maddie Mann, Hewitt-Trussville MS; Bassoon-Clara Cagle, North Jefferson MS; Bb Clarinet-Jones Preg, Hewitt-Trussville MS; Alto Clarinet-Matthew Cornelius, Trinity Christian School; Bass Clarinet-Chloe Taylor, Luverne HS; Contra Clarinet-Maddie Martin, Haleyville MS; Alto Sax-Cate Kramer, Pizitz MS; Tenor Sax-Steve Jung, Liberty MS; Bari Sax-Jacob Johnston, Discovery MS; Trumpet-Lydia Hanje, Pizitz MS; French Horn-Praveena Kumaresa, Spanish Fort MS; Trombone-Ian Franzer, Hewitt-Trussville MS; Baritone-J.P. Aufdemorte, Berry MS; Tuba-Ramsey El-Fallah, Berry MS; String Bass-Zoe Johnson, Alabama School of Fine Arts; Percussion-Jackson Hanks, Bumpus MS

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Tips

That Click

The Best Advice I Ever Received About Preparing My Band For Assessment….

(Part Two) This is a continuation of last issue’s installment of tips for preparing bands for Music Performance Assessment and Spring concert festivals. I have taught for many years, but found several jewels that I was able to use as I went out and advised directors and bands getting ready for contest. Even though contest has passed, these tips can be employed in your future planning and most should be part of your daily routine.

Dr. James Simpson – Retired, University of North Alabama, Canton (MS) High School Select music suitable to the playing of your ensemble. Be thoroughly prepared in every category assessed.

Randall Key – Hartselle High School While the entire adjudication sheet is important, be sure and focus on the top of the sheet. Tone quality is essential. The Music Performance Assessment is a snapshot of your program. MPA does not define a program, however assessment is an important tool to supplement your program.

Regina Raney – Cedar Ridge Middle School Plan to be ready to perform two weeks before the actual date of your contest. Distractions and emergencies happen.

Glenn Spiller – Retired, Decatur High School, Selma High School Work on all elements of playing. Make a priority to listen to each student weekly. Strive to make expressive music every day.

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Gene Inglis – Saks High School Make a concerted effort to learn good and appropriate literature for MPA. In my first year teaching, Lacey Powell (Alabama Bandmasters Hall of Fame) encouraged me to study past programs from festival performances. He told me to learn the pieces the “great” bands played.

Bill Connell – Grissom High School Set a timeline. Be ready to perform 2 weeks before the contest If you can’t make the timeline, change the music to something less difficult.

David Raney – Sparkman High School Music selection is the most important part of the process. It must fit the personality of the students. Fundamentals, fundamentals, fundamentals!

Tommy Brannan – Retired, Tuscaloosa County High School I will never forget advice given by Dr. William Revelli (University of Michigan): “Pick music for your band (instrumentation). This may not necessarily be what you want to play. You build your band at concerts, not State Contest!”

John Cooper – Austin High School PLAY IT SLOW FIRST! I think too many people never play passages with 100% accuracy at a slow tempo. Instead, they just play fast and just “cover” the errors. Play it slow: with good tone, good intonation, good subdivision, good articulation, etc. I believe that this provides benefits not only for the piece you are working on, but for other literature you will prepare down the road. FINGER IT CORRECTLY! On woodwind instruments especially, there are many fingerings but they are not all utilized the same. Have your students use the best fingerings, even if it takes more time to teach this at the beginning stages of preparing the piece.

Wiley Chester Bean – Retired, Causey Middle School Establish characteristic tone quality throughout the sections.

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This helps the band in reference to balance and intonation.

Working with long tones, lip slurs, and chorales will help the band in many ways!

Randell Wallace – Retired, Clay-Chalkville High School When selecting music, choose pieces that your older players can play large sections of almost immediately, without much difficulty. Sometimes, our music selections tend to be so difficult that expressive element is deeply affected. This causes many problems in cleaning things up and performing the music to high expectations.

David East – Retired, Lamar County High School, Amory High School Just because you like it, doesn’t mean that they can play it.

Have a seasoned (successful) director listen to your band before making final contest selections.

Chris Lindley (Right) presented the Phi Beta Mu Outstanding Band Director Award by Tommy Brannan

David Allinder – Shades Valley High School Invite people into your rehearsals to hear your bands. Their comments will help but more importantly, their presence may open your ears to the sounds your band is making.

John Bradley – Retired, Florence High School Pick music your students can play!

James Smith – Retired, Troy University In 1978, Oliver Hobbs ( Florida Bandmasters Hall of Fame) asked me a week before district festival in Florida: “Is it too late to change your music?” Music selection is the key to success!

I hope that everyone has had a great experience at Music Performance Assessment for this year and will examine their preparation for the future in light of these suggestions. All of the contributors were asked to just jot down the first thought that came to mind, and the contributions covered almost every aspect of festival preparation. A common thread was how important music selection was to the success of the band.

Unlike the English or Math teachers, we get to determine the literature that will be assessed, and so we must be well versed in the pieces that might be appropriate for the abilities of our students understand how to use them to reinforce the musical skills and fundamentals we are teaching daily. Also, look over the two articles and see how many times these very accomplished teachers mentioned the importance of tone quality and deliberate slow practice. My suggestion is to copy these two articles and reflect carefully on each suggestion and how you can employ it into your daily teaching!

Rho Chapter of Phi Beta Mu International Bandmaster Fraternity is committed to the improvement of bands and band instruction in this state. Comments on this column and ideas for future columns are welcome! Please email: pemin@mac.com ala breve

Justin Ward (Right) presented the Phi Beta Mu Outstanding Yound Band Director Award by Tommy Brannan

New Phi Beta Mu Member Susan Smith (Right) and her sponsor Randall Coleman

New Phi Beta Mu Member Corey Spurlin (Right) and his sponsor Rick Good 19

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Why I Want To Become a Band Director

by Madelaine Worley

Madaleine Worley is the 2018 recipient of the Phi Beta Mu Lamar Triplett Scholarship. This essay was written as part of the scholarship application process.

My name is Madelaine Worley and I am a senior at Tallassee High School. I have been a member of band for six years and I play clarinet, saxophone, and flute.

I served as section leader for two years and drum major for this past football season. I also am a member of the track and field team at my school. Amongst all these things, the most important part is that I am a Christian.

You now might be wondering why I shared some of those things with you.

The reason I shared the things I did is because they are all apart of the reasons I want to become a band director. They are a part of why I want to educate, teach, and inspire students in new ways.

It is the experiences, people, and power of my gracious God that made me into the person I am today.

Before I tell you about these things, I would like to address the simple idea of my love and passion for music. A few years ago my dad said to me that “he should have known that I was going to be a music person when I was a baby”, considering I would cry when the music from the toy hanging above my head turned off. No matter where we went in the car, I wanted and still do want music playing. After every honor band, I still never fail to listen to music on break or on the way home. I spend my free time teaching myself other instruments, like saxophone and flute. I do not think I can ever get tired of music. Since joining band and choir, my love for music has only grown. The power of music in a person’s life is indescribable and a true gift from our good God. It takes just one song to define a person’s mood in a moment. It can take one note or chord to make a person get chills all through 20

Madaleine Worley (center)is the 2018 recipient of the Phi Beta Mu Lamar Triplett Scholarship. She is congratulated by Tallassee High School Choir Director Michael Bird (Left), and Band Director Melanie Perry (right).

their body. Music is one language that everyone has in common. It is a beautiful and marvelous thing that people forget about today. I want people to start recognizing the power and beauty of music again. One of my goals is to make students excited about going to sing in choir class and play their instrument in band class. I will not let music go unnoticed anymore. This is not just a job, but a mission, to share the love and enjoyment of music with students, revealing its true power and importance.

This passion for becoming a band director truly did not blossom up over night. It took about five years of experiences, lessons, and growth to get to me to this point. One of the greatest

reasons I want to become a band director is because I want people to know that you can do both. What do I mean? You can be a band nerd and an athlete. You can be in band and be an artist. You can be an artist and an athlete. You can be one. You can be all three. As it probably appears, I am a band nerd. But, I also would consider myself an athlete. My dad is a football coach and the head track coach for my school. I have been around sports my entire life. I have played sports since I was five years old, from softball, to track and field, to simply just loving the idea of a healthy lifestyle. I do all of this while still loving band. In this world today, people are put into categories. I want to put an end to people being put in categories. Who ever said that a May/June 2018

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person could not be both? A person can be anything they want to be. They can be apart of multiple things that are completely different from each other.

They can be great at both. People themselves have the ability to create a name for themselves and do what they want to do in their lives. One of my missions is to teach students to be different and do what they want to do. I would love to be the director of a band one day that has not only band loving students in it, but athletes, artists, singers, and combinations of all the amazing things their are to be in this world.

One of the greatest lessons I have learned is the power of humility and love as a leader. I was blessed by God to have the opportunity to be the drum major for my school this year. It was one of the greatest experiences, that grew me in so many ways. I have struggled

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with pride since I joined band in seventh grade and I am grateful that God dragged me out of the hole I was in. As drum major this year, as well as section leader for the past two years, I learned the importance of putting others above myself. I learned that it is not about what I want as the leader, but what is best for the entire band as a whole. I was not given these positions to glorify myself, but to lead, grow, and love my band. I was given a taste of what it is like to be the example. It showed me the impact a leader can have on the people they are leading. I am sad that the season has ended, but I now know that I want to lead people the rest of my life. I want to teach students that it is about what is best for the band and others around them, not themselves. From being drum major this year, I developed and grew relationships with my band directors and fellow peers that I never would have had if I had made this chance all about me.

As a band director, I want my students to not just see me as a teacher, but as someone they can look up to and trust. I want my students to feel apart of a family because when you have a band full of people in unity on the inside, it helps to define and shape them into the best band they can be on the outside.

I hope that you now see that I have had a lot of experiences, growth, and lessons to inspire my desire to be a band director. I love music and I love band.

But the reason I want to become a band director is not simply because of my passion for music, but for people. It is my goal to teach students to get rid of the status quo and be both. It is my goal to teach students the importance of humility, selflessness, and kindness to others. It is my goal to make the band room fun again, while reviving and reteaching students the power, love, and indescribable voice of music.

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AMEA Industry/Institutional Membership 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!

Arts Music Shop Inc., 3030 E. Blvd., Montgomery, AL 36116 AWB Apparel, 206 Potomac Court, Woodstock, GA 30188 Bailey Brothers Music Company, 4673 Highway 280 Suite 7, Birmingham, AL 35242 Gadsden Music Company Inc., 607 Broad Street, Gadsden, AL 35902 Group Travel Network, Inc., 7485 Conroy Windermere Rd. Suite D, Orlando, FL 32835 Guardian Music Travel, 1008 Frances Pkwy, Park Ridge, IL 60068 Huntingdon College Bands, 1500 E. Fairview Ave., Montgomery, AL 36106 John M. Long School of Music, School of Music, Troy, AL 36082 JW Pepper, 9053 Riverside Pkwy, Lithia Springs, GA 30122 Kaleidoscope Adventures, 7081 Grand National Drive Ste. 110, Orlando, FL 32819 Landmark Tour and Travel, 704 37th Street South, Birmingham, AL 35222 Marchmaster Inc., P.O. Box 73379, Newnan, GA 30271 QuaverMusic.com, 1706 Grand Ave., Nashville, TN 37212 Samford University, 800 Lakeshore Drive, Birmingham, AL 35216 Southeastern Performance Apparel, 142 S. Woodburn Drive, Dothan, AL 36305 Southern Performances, 6037 Andhurst Dr., Gulf Shores, AL 36547 Thomas Tours, Inc., 2405 12th Ave. South, Nashville, TN 37204 Universal Orlando Resort Youth Programs, 1000 Universal Studios Plaza, Orlando, FL 32819 University of Alabama School of Music, 810 2nd Ave., Tuscaloosa, AL 35487 University of Alabama Bands, 211 Moody Music Building, Tuscaloosa, AL 35487 University of South Alabama, LPAC 1072, 5751 USA Drive South, Mobile, AL 36688 22

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Huntingdon College Bands Uniforms and Equipment Provided No Band Fees Generous Scholarships

Endless Smiles

www.huntingdon.edu/bands Huntingdon College Bands Contact: Adam Murphy, Assistant Director (334) 833-4224 | amurphy@hawks.huntingdon.edu Huntingdon College is committed to a policy against legally impermissible, arbitrary, or unreasonable discriminatory practices.

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Meet the 2018-2019 AMEA Governing Board

Greg Gumina President

New board members assume office on June 1 except for the Collegiate Division.

Collegiate officers begin their terms immediatily after the conference.

David Raney President-elect

Susan Smith Immediate Past President

Guy Harrison AOA President

Carla Gallahan Recording Secretary

Pat Stegall Treasurer/Registrar

Becky Lightfoot Industry Member Representative

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Doug Farris ABA President

Meg Jones AVA President

Jordan Hare CNAfME President

Garry Taylor Executive Director Editor

Mildred Lanier HED President

Phil Wilson ELEM/GEN President

Andy Meadows ALSDE Arts Education Specialist

Ted Hoffman CNAfME Advisor

Rusty Logan Assistant Executive Director

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If You Build It, Will They Come?

Building a Secondary Choral Program

By Kay Dick If you are the director of a thriving high school choral program with plenty of students, great parental support, a large budget, overwhelming administrative support, and consistently receive Superior ratings at State Choral Performance Assessment every year, or if you are walking into a well-established program which enjoys these things, this article may not be for you. However, if you lack in any or all of these areas as I do or have, perhaps you might read on. I am certainly not an expert or “guru” of any sorts but humbly offer my story with the hope that it may inspire and give hope to pre-service or new teachers or perhaps it may spark new ideas for those who need them.

My experience over the past 30+ years has been in church music, homeschooling, private studio, and most recently, for the past 11 years, teaching choral music in two Shelby County schools. In every job, church or school, I was hired to “build the program.” I have certainly made my share of mistakes, but in every position, we experienced healthy growth in numbers and quality of program, and I have satisfaction knowing I fulfilled my mission to “build the program.”

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“If you build it, he will come” is a quote from Kevin Costner’s 1989 sports fantasy movie, Field of Dreams. In the movie, Costner plays an Iowan corn farmer Ray who mystically hears a voice telling him to build a baseball field on his farm. Through the experience, he is able to recapture his childhood innocence and repair his fractured relationship with his father who had passed away some time earlier. At the conclusion of the film, a road with hundreds of cars is shown indicating that because he built the baseball field and followed his dreams, hundreds of others will be able to realize their dreams. It is definitely a beautifully romantic idea that if you build something, others will benefit.

That is exactly what I am advocating for a choral program. “If you build it, they will come.” The question becomes, “How do you build it?” The following is a list of things I have learned along the way but is not, by any means, exhaustive, so take what applies and leave the rest: Imposter’s Syndrome is the tendency to feel like you do not belong or know as much as others think you do (Carrillo & Baguley, 2015). Be the expert!—You know more than they do! The night before I stepped into my public school classroom for the first time, I had the normal

“jitters” and in speaking to my husband said, “I don’t know if I can do this!” to which he replied, “Yes, you can! Do you know more than they do?” I had to admit that I did. Even now, when I am faced with doing something I do not feel “expert” in, I remember his wise words.

Make friends with the lunchroom ladies and the housing people. This has been my mantra since college. Expand this idea to include the bookkeeper, front office person, counselors, custodians, librarians, etc. In other words, sow good seeds with the support people and treat them well; you will need them.

Educate your faculty and administration: If they are dumb, it might be your fault!

There is no one else in the building (with the exception of your band director and theater teacher) who “gets” performing arts the way you do. If you need your classes structured differently, want to add classes, have unmet goals for your program, etc., YOU are your best advocate! One year, my choral students designed a bulletin board in the cafeteria during National Music Education Week.

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tuxedo; I can teach you to sing,” which she said always made them stand a little taller.

Diana operated her program under the assumptions that she could teach anyone to sing if they had a good attitude and were teachable, and that kids need to feel needed. These tactics worked because, as you may know, Diana, who eventually moved to Hoover High School, along with Cathy Shelton, built one of the largest and most successful choral programs in Alabama. These ladies have since retired from fulltime teaching but the legacy continues under the capable and talented direction of John Kincaid and Amanda Slay.

As part of the display, we posted statistics about the correlation between performing arts students and elevated standardized testing scores, graduation rates, and grades. My principal commented to me that he knew the arts were powerful in the lives of students, but seeing it in black and white really helped him “know” how important our program was.

Fight for your program whether you are tenured or not! Be pleasant, positive, professional and persistent about how your program benefits students and their families, the school, and your community.

Remind everyone of this regularly.

Program face time in the community. Get your students in front of as many school and community groups as possible. This is where you gain “street cred”, as our high school students say and as you know, it is all about image these days. Your choral program is no different. “The experience of your ensemble must be more attractive than the myriad other activities (curricular and others) offered” (Luethi, 2015, p. 26).

Singing at sporting events, awards ceremonies and other school activities, ala breve

nursing homes, business groups, retail openings, clubs, corporate events, restaurant spirit nights, city and county events, benefits, the library, etc. not only builds your students’ confidence but it also shows people that you are all working together to build your community. This builds social currency for your program.

“You would look sharp in a tuxedo!

Wanna join choir?” Diana Mayhal, one of my mentors, told me how she built the choral program at Berry High School when it first opened and she moved jobs from Simmons Middle School. During the summer before starting at Berry, after getting the list of the entire school, she spent hours in the school office personally calling numerous students whom she had taught previously, telling them that she was the new high school director, inviting them to join choir. She said as she went about her days in the halls and saw boys she had taught before talking in groups, she would stop and ask them if they still wanted to sing. If there were boys she did not know, she would ask them if they sang and if they said they did not know, she would say, “Hey, you’d look sharp in a

Develop a short and long-term plan, stick to it, but be flexible. With the help of your parents and administration, develop a long-term plan for program development and goals. When I came to Chelsea, the short term goals included having gender specific choirs and an advanced mixed group. Dr. Megan Rudolf, director at Vestavia Hills High School, completed her dissertation work in gender specific choirs, and I used her research to strengthen my “case” with my administration. Within two years, I was granted my request. The longterm plan also included adding a competition show choir, which has become a reality, and to add AP Music Theory, which is slated this next school year. The current long-term plan will add Music Technology classes, which I have been told might be possible year after next. I am very thankful for our supportive, innovative, “thinking-outsidethe-box” principal, Wayne Trucks.

Do not be afraid to ask for money for your program as it is an investment in your students. When I started at Vincent Middle High School, I had two high school students, a bunch of rowdy middle schoolers, no money, no choir room (we started in a trailer…oops, sorry…learning cottage), no music, no piano, and no program. That first year, we charged $20 fees, had a piano donated, and grew the high school program to a whopping three students. Performing for the school and community gained us recognition and before long the PTO contributed $500 toward the purchase of formal wear. A 29

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local politician (thanks to my innovative then-principal Gary Minnick) donated money for a small set of choral risers.

Because of this, we had the beginnings of a real choral program. In my current position, the Chelsea PTO has been very generous, helping us purchase a keyboard, sound system, and fog machine for which I am grateful.

Start some kind of auditions as soon as possible. This legitimizes your program.

Use outside judges. Call in favors with colleagues and/or pay them whatever you can.

Be your best advocate: Talk to your principal and administrators about the great things that are going on in choir and the eternal benefit to your students and their families. This is not bragging for your ego; the good things said about your program should come from you first.

Invest in yourself by joining Alabama Vocal Association (AVA) and American Choral Directors Association (ACDA) and GO TO THE EVENTS! This goes without saying and yes, it is worth the investment, even if your program cannot afford to pay for your membership. Pay your own way to the events until your program can support you. Push yourself to remain a student; take risks and try new things. Learning does not end with your degree. Continue to do things that help you develop as a musician and teacher.

Sing in a high level group with a strong director, take a re-fresher conducting class, begin classes toward a higher degree, do whatever it takes to remain “fresh” as a musician first, teacher second. “We are musicians, and must never forget that our skills are the most important part. Unlike the movie ‘School of Rock,’ those who can’t do…shouldn’t be teaching music” (Hebert, 2013). Your longevity, creativity, and professionalism depend on your personal growth along the way. Think long-term.

Brag on your students to anyone and everyone who will listen, parents and students included. Send random emails to parents telling them something encouraging about their student. Tell them 30

each time you see them at events.

Take care of yourself physically. This is one I am not so good at, as I have, in the past, let the job overtake my “free time,”; this is a mistake. Exercise, eating healthy, and drinking lots of water (in and out of school) enhances your stamina; building an active choir program requires stamina. I wish I had taken this advice more seriously over the years, but I recently joined a small gym where I work out three mornings before school, yes, at 5 a.m. and I feel better than I have in years, with the exception of being sore all of the time.

Surround yourself with support; start small. Find one or two parents who will help you with the administrative tasks, and empower them to take on some of the detail/organization things so that you can concentrate more on what you were trained to do and love. This makes you happy and being happy in your job is paramount to you and your students. If you focus on building your parent organization, they too, like students, will come, and before long, you will have a small army of supportive, amazing parents who will come alongside you. The goal should be for them to take ownership of the program. This may not happen overnight, but slow, steady building of expectations and casting the vision will pay off in the long run.

students asked me to start a show choir.

My “past failure” could have deterred me, but even though I knew very little about it and had zero training, I jumped in with both feet. The first two years, I auditioned the groups, used students and friends to choreograph, sang stock arrangements, and took the “show” to the ACDA Show and Jazz Choir Festival (as it was called then; it is now called Contempo). The following year I did all of that, hired the talented Gavin Dover (co-director of choirs at Vestavia Hills High School) to choreograph, took the group to ACDA, and entered them in the Festival Division of one other competition. My parents and community were beginning to support in a big way and after several conversations, we decided to begin competing, but I needed help. Upon recommendation from Garrett Lindsey (director at Jasper High School) I hired an amazing young man from Nashville, Dallas Pritt, to design and choreograph our show. Dallas’s specialty is taking groups to the next level and he has done an outstanding job for us. This past year, we expanded our competition season ending a very successful run at the Heart of America National Competition in Nashville. All that to say, it is a process, but finding something that will draw students in is necessary to building a thriving program. Find what works for you, your students, and community.

Find a “schtick” that works for you.

Whether its trips (if just for one day to begin), using current musical genres, starting an acappella or vocal jazz group, or show choir, students need to be drawn to your program. You may try some ideas and maybe it takes a couple of tries before it works. That’s ok. I “started” a show choir at Vincent with sixteen students, four stock pop arrangements from J.W. Pepper, a local ballet teacher to choreograph (for free), and a two-day “camp” during Christmas Break. The first day I had about 10 of the 16 show up; the second day, four came. We decided that maybe they weren’t as ready for a “Glee” experience as they thought. After all, it actually took hard work. Epic failure, right? I thought so. The next year I moved jobs to Chelsea where parents and May/June 2018

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Seek out mentors. Find those people whom you admire and offer to buy them a cup of coffee at a conference or breakfast on a Saturday morning; pick their brain.

Even though I have lots of experience (ok, I’m old), there is so much more to learn. I hope I never stunt my growth by acting like I have “arrived” or know it all.

Do quality performances and trips. Do more with less. Better to leave them wanting, than wishing they could leave, or worse, watching them walk out the back door. Make sure you are putting your “best foot forward” every time. Always consider your audience when programming, and make sure you have something that will appeal to the music lover, not just the music academician.

Communicate with your bosses and by this, I mean your students’ parents. Think of them as your “customers”. As I strive to give them the best quality choral program possible, I rely on Charms, Google Classroom, and GroupMe to send upcoming information out monthly, weekly, and sometimes daily, depending on the events. You cannot communicate too much.

Go beyond the music. Build students. Our motto is “Discovering Passion and Building Character Through the Arts”. I came to this after much soul-searching and consideration about what I wanted the

“end-game” to be for our program. In other words, what is the “eternal” value of what we do in the Chelsea High School Choral Department? In my opinion, that has to start with the director, then comes to fruition as the director consistently imparts it to students, parents, administrators, and community members.

In the past few years, my teaching philosophy has slowly turned from being “all about me and my ego” to me being “all about the kids” and what is best for them. Sometimes that means “tough love” and firmly “holding the line” on a policy.

For example, when they have had a rehearsal date for six months, but suddenly could not get off work and tell you the day of. Sometimes it means helping them through a difficult family time by pulling them aside to tell them you care and are available. Sometimes it means attending ballgames (where your students are also on a sports team) when you are already stretched thin. Sometimes it means admitting to them that you messed up and showing them how you are learning from it. It means relating to them as a human and always as a mentor, not blurring the boundary lines between student and teacher. It means living your life as an open book and inspiring them to be better than they are because you are striving to be better than you are. It means teacher and students on a co-journey to achieving more together (Silverman, 2016). It means being authentic. Teenagers love and respect this and can sniff out “fakeness” from a mile away. Having my daughter in my program the last four years has definitely been a defining influence in my teaching journey. Having her with me every day forced me to see things from the student perspective and ultimately made me a better teacher and mentor.

As I have said, I still have much to learn, but perhaps my story and the transparency with which I have shared it, is helpful. I continue to be humbled and honored to be called someone’s “choir teacher”. I sincerely hope that I can influence my students in the same positive ways which my teachers did for me.

we came. If you build it, they will come.

References Carrillo, C., Baguley, M., & Vilar, M. (2015). The influence of professional identity on teaching practice: Experiences of four music educators. International Journal of Music Education, 33(4), 451-462. doi:10.1177/0255761415582348 Hebert, G. (2013, Winter). Steps in building a strong high school choral music program. Retrieved from acdawestern.org/Tactus_Newsletter_files/ winter2013/hebert.html Luethi, D. (2015). Idea bank: Ten steps to recruiting singers. Music Educators Journal, 102 (1), 25-27. doi:10.1177/0027432115595969 Silverman, M. (2016). Listening-for social justice. In L. C. DeLorenzo (Ed.), Giving voice to democracy in music education: Diversity and social justice (pp. 157-175).

New York, NY: Routledge.

Kay Dick is in her 6th year at Chelsea High School where she leads 3 choirs, teaches music appreciation, and classes for high school students who are considering a career in education.

Previously she taught choral music at Vincent Middle High School, also in Shelby County. Kay has a master’s degree from The Southern Baptist Theological Seminary in Church Music and a BS in Music Education from Louisiana College. She is currently a PhD candidate at Auburn. Beginning her professional career as a Baptist minister of music, Kay has been teaching music in a variety of settings for over 30 years. She lives in Hoover, AL with her husband and daughter and has 2 grown sons and a daughter-in-law.

Our (yours and mine) teachers built it, and ala breve

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Keep Calm and Teach

by Phil Wilson CONGRATULATIONS! You endured the hardships that being an undergraduate music education student carries and landed a job teaching music.

Or maybe you changed jobs, or you are rapidly headed toward burnout.

Regardless which scenario fits your situation, change is abreast and how you handle the change maybe the linchpin to your success. According to an NPR report, it is estimated that eight percent of teachers are leaving the teaching profession yearly in the US. This eight percent is higher than any other profession (Westervelt, 2016). The article goes on to state a range of reasons why educators from across the country left their jobs including poor funding, hostile political climate and of course money, to name a few. Though these are very credible and understandable reasons for leaving, America’s students are the ones who take the biggest hit from teachers leaving their jobs. Many efforts to thwart the mortality rate of teachers have been explored and instituted, but more still needs to be done. This article will attempt to address steps to assist new teachers, teachers who are changing 32

schools and teachers who are in a rut to cope with the teacher dropout and fatigue issues we face.

Mentoring. Mentoring is an age-old practice dating back to Greek Mythology. In Homer’s epic poem The Odyssey, before King Odysseus left to fight in the Trojan War he arranged for his son Telemachus to learn from his friend and advisor Mentor. Mentor guides or “mentors” Telemachus in a journey to find his father and a greater understanding of himself (Haack & Smith, 2005; Smith, 2005). Since its’ mention in The Odyssey, the effects of mentoring have been studied and implemented into all faucets of life.

Many school systems have employed mentoring as a means to assist new teachers in the transition from student to teacher. Unfortunately, there are still some school systems who do not match new teachers with mentors. As music educators, and most of the time the only ones in our buildings who do what we do, we are sometimes matched with mentors outside of our discipline. While having a mentor outside of our discipline is great for learning policies of the school and acclimating music teachers to the profession, it does very

little to help with the music teaching. So, what should one do?

Ask and it shall be given. During the interviewing process, or after you have accepted the position, ask your interviewer if a mentor will be assigned to you. Be specific in what you feel you will need in a mentor and even make suggestions as to who can serve as your mentor.

Take it upon yourself to find your own mentor. If you are not assigned a mentor in your own discipline, reach out to music educators who you deem as successful and ask them to begin a mentoring relationship with you.

Mentoring is not just a transferring of knowledge from one to another, but a relationship of both parties sharing professional thoughts and questions.

You never know, you may possess something a seasoned teacher may need to move their program into the new century.

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can help you stay on track. How do you want students to enter your classroom?

Where will they sit? How will you collect items? These, plus others, are questions to ponder as you begin making plans for your classroom. Knowing where you are going, and how you want to get there, before you hit the street will ensure your arrival at your destination.

Communicate. According to Ni (2015), one of the top ten reasons why relationships do not work is parties do not communicate effectively. As a new teacher, and even as seasoned teachers, this is a concept we need to continue to work on. With the multiple modes of communication that exists today and with new forms of communication technology being created weekly, there is really no excuse. Here are a few suggestions to establish and maintain:

Coffee talk. A mentoring relationship takes time and effort to ensure that both parties are growing due to the relationship. Contacting your mentor only when you have a question or an issue will not yield a fruitful relationship.

Instead, establish a regular meeting time with your mentor. Make your meeting times reasonable enough so you both can reap the benefits of the relationship.

Agree to meet in public places so that everything can be on the up and up.

Come to the meetings armed with questions, celebrations or frustrations so that you can make the most of the time you have.

Take a break. If you feel the mentor/mentee relationship is not working, it is perfectly ok to say so.

Seasoned music educators will appreciate the honesty and the consideration of their time and effort.

Make A Plan. Unless you are beginning at a newly constructed school, there ala breve

probably exists an overall performance schedule of mandatory events where your ensemble will perform. Utilizing the already established schedule, begin planning your instructional year. As a first-year teacher, I remember stressing because a performance was closer than I thought, and my students were not as prepared as I would like for them to be.

Creating a yearly list of goals and dates to meet those goals, and using those goals to create weekly objectives, will help you stay on track. This is not to say that your goals are set in stone.

Adjusting your goals is totally acceptable as you gauge the proficiency level of your students, recruit students for your ensemble or even add performances to your year.

Organization is also a major component of planning. Organizational strategies assist the new teacher in developing proper learning conditions (Freiberg, 2002). Thinking systematically about your classroom before students enter

Email. Almost everyone communicates today via email. On the permission form I send home with my elementary aged students, I ask parents or guardians for an email address so that I can stay in touch. As each permission slip is returned, I create a database in Excel, and copy and paste the email addresses into my email program to create a distribution list. Be sure to put on your permission form to write in print so that you will not enter addresses incorrectly.

On the morning of our weekly rehearsal, I send an email reminding parents that we will meet. I have had to cancel rehearsals due to severe weather or other extenuating circumstances and email was a great tool for reaching out to parents. Parents email me when students will not be at rehearsal and the reasons why. Because students tend to lose pieces of important papers between school and home, I attach the papers parents will receive at home so that they can have advanced notice. I try very hard to email parents about upcoming events, rehearsals or general music room news two weeks in advance so that they can make preparations to attend and have their child prepared.

Remind.com. Many parents, like students, are attached to a cell phone.

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Why not use this for your good?

Utilizing the app Remind.com, you can send instant reminders to your parents about events via your cell phone or computer. Parents can choose to receive information via text or by email. This app also allows you attach documents or pictures to share to multiple parents at once. Parents are even able to respond back to you via the app, without having to call you on the phone. Along with an email, I also send a cut and pasted reminder through app on rehearsal days.

Remind.com is one of many communication apps. Talk to your tech teacher to discover more.

Shared Calendars. As a new teacher, it is important to learn to be a long-range planner. Whenever you have solidified dates, put them on a digital calendar and share them with your parents. If you are sharing a calendar, whatever new events you put on the calendar will get noticed by the parents and it saves you spending countless hours at the copy machine making multiple paper copies for students.

Graduating and attaining your first job is an exciting and horrifying time in your life. The first years of a new teacher’s career is equally as exciting and horrifying. The advice given here is a just the tip of the iceberg of advice for new teachers, but the last bit of advice is the most important. Don’t Quit.

Persevere. Florence Chadwick was a lady who loved to swim. She dreamed of being the first woman to swim the 21 miles from the Catalina Island to the California Coast. At the age of 34 on July 4, 1952, she set out amidst the thick fog and cold ocean water to accomplish her task with her mother and trainer in boats nearby encouraging her. After swimming 15 hours, she asked to be removed from the water due to the heavy fog and her uncertainty of where the coastline was. Soon after she was lifted out of the water she discovered the she was less than a mile away from the shoreline and her goal. Devastated but determined, Florence Chadwick went home and after a time of rest 34

began training to accomplish her initial goal. This time she knew what to expect and persevered through the thick fog and cold ocean water until her hands slapped the shore of the California Coast. Florence Chadwick’s story is a great one to remind us of what we can accomplish if we stay the course.

DON’T QUIT! The children of Alabama deserve a fighter and you deserve to be their champ.

References Freiberg, H. (2002). Essential skills for new teachers. Educational leadership. Retrieved from http://www.meekographics.co m/cmcdtestsite/Files/Essential -Skills-for-New-TeachersEd.Leadership.pdf Haack, P., & Smith, M. V. (2000).

Mentoring New Music Teachers: Mentoring, an age-old concept, offers definite advantages to the new teacher who takes the time to identify a mentor and request his or her help. Music Educators Journal, 87(3), 23-27. doi.org/10.2307/3399659 Ni, P. (2015, July 12). Top ten reasons relationships fail. Retrieved from https://www.psychologytoday.c om/us/blog/communicationsuccess/201507/top-10-reasons -relationships-fail

Phil R. Wilson the music teacher at Ogletree Elementary School in Auburn, Alabama, where he has taught for the past 16 years. Prior to coming to Auburn, Phil taught at Thomasville High School in Thomasville, Georgia, where his duties included directing the chorus, assisting the band director, and directing literary activities. Phil graduated from Troy (State) University in 2001 with a Bachelors of Music Education degree and went on to pursue his Masters of Music Education degree from Auburn University in 2007. In 2010, Phil became a National Board Certified Teacher in the area of Early and Middle Childhood Music. He is currently pursuing a Ph.D. in Music Education from Auburn University. Phil is the 2010-2011 Alabama State Teacher of the Year. Phil is a member of NAfME; The National Association for Music Education, the Alabama Music Education Association where he serves as President of the Elementary division, the Alabama Education Association, and Phi Mu Alpha Sinfonia, Professional Music Fraternity of America. He also serves on the board of the Alabama National Board Certified Teachers Network.

Smith, M. V. (2005). Modern mentoring: Ancient lessons for today. Music Educators Journal, 92(2), 62-67.

Retrieved from http://journals.sagepub.com/d oi/abs/10.2307/3400199?journ alCode=mejc

An educational festival for elementary, middle, and high school students in band, choir, and orchestra

Westervelt, E. (2016, October 24). What Are The Main Reasons Teachers Call It Quits?. Retrieved from https://www.npr.org/sections/ ed/2016/10/24/495186021/wh at-are-the-main-reasonsteachers-call-it-quits

2019 dates: April 12-13, April 26-27, May 3-4

2018 dates: April 20-21, April 27-28, May 4-5

www.SMMFestival.com or call:1-855-766-3008

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Choral Music Reviews In Beauty May I Walk Music: Jonathan Dove Text: Anonymous (Navaho) A cappella, SATB Publisher: Edition Peters (EP7637)Wr Approximate performance time: 4’30” (approximate) Voces 8 performance: https://www.youtube.com/watch?v=P4Gbkb1uHys In beauty may I walk, All day long may I walk, Through the returning seasons, Beautifully, beautifully, joyful, joyful!

With grasshoppers about my feet may I walk.

With dew about my feet, It is finished in beauty.

-Anonymous (Navajo) British composer, Jonathan Dove, utilizes several composition devices to create this setting of the text which was written as a “leaving present” or travel blessing for his good friend.

Listeners will hear the principal melodic fragment first with the bass section; subsequent voice parts will introduce rhythmic variations of this melodic motive, often trading treatments in seamless exchanges. The overall effect musically captures how all of our individual life journeys intersect and overlap while we collectively become a part of the beauty before us, behind us, and all around us.

Each Morning She Walks Music: Charles Anthony Silvestri Text: Eric Whitacre A cappella, SATB divisi Publisher: Walton Music (WW1639) Approximate performance time: 4’27” (approximate) Audio performance: https://www.youtube.com/watch?v=QMVMxiUZWxU Each morning she walks, Rising in darkness, called by the sea.

Circle on circle on circle, The tips of her wings softly polishing the stones.

Each morning she stalks, Breath in her quiver, bow of compassion, Step after step after step ala breve

Dr. Diane Orlofsky

Hunting silence, solitude, peace.

And then she returns, Her eyes full of stars, Her heart full of daybreak, Her arms full of arrows and feathers and light.

Each morning, Silky and warm, She places her prey at my feet.

-Eric Whitacre For many years, Charles Silvestri has written lyrics for composer Eric Whitacre, but in 2015, they decided it would be interesting to switch roles. Commissioned by a consortium of choirs, Whitacre penned this mystical poem as a gift for his wife and Silvestri wrote the ethereal composition. Written with three tonal sections (corresponding to “she walks”, “she stalks”, and “she returns”), the listener will be able to trace the narrative of the “mysterious huntress” throughout her journey through musical ostinatos and captivating melodic lines.

Evensong Music: Eric William Barnum Text: Ridgely Torrence SATB divisi with cello Publisher: music available from composer after premiere.

Approximate performance time: 7’ 25” (approximate) For an in-depth look at this work by the composer, visit: https://ericwilliambarnum.wordpress.com/category/composing-sub-rosa/unearthing-ewb/ Beauty calls and gives no warning, Shadows rise and wander on the day In the twilight, in the quiet evening We shall rise and smile and go away.

Over the flaming leaves Freezes the sky.

It is the season that grieves, Not you, not I. All our spring times, all our summers, We have kept the longing warm within.

Now we leave the after-comers To attain the dreams we did not win.

O we have wakened, Sweet, and had our birth, that’s the end.

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And that’s the end of earth, And we have toiled and smiled and kept the light, And that’s the end of night.

Beauty calls.

-Ridgely Torrence It seems fitting that my last choral review column features this very special piece. I commissioned the work from Eric Barnum in the Spring of 2017 to mark the 10th anniversary of the TROY University Concert Chorale (having worked with him in 2011 on another commission, “Confessions”). In this composition, Barnum chose to musically set the lyrical poem, Evensong, by poet, Ridgely Torrence. Torrence’s poetry reveals a deeply rooted moral sensibility, a concern for humanity, a yearning for a better world as well as a frustration with the harshness of reality. Barnum musically captures the pathos and bittersweet beauty in the text and the Chorale is looking forward to performing this under his direction in the famed Carnegie Hall in May of 2018. The piece is a “minimasterpiece” and is destined to become a beloved standard in

Barnum’s catalog.

I would like to take this opportunity to thank outgoing AMEA President, Susan Smith, for asking me to serve in this capacity for the past two years. It has been an honor to write for the Ala Breve (thanks to Garry Taylor as well, for keeping all of us on task with writing deadlines, too!). I hope that my perspectives on new choral music have been helpful and that you have discovered new and challenging literature as a result.

Dr. Diane Orlofsky is Professor of Music and Director of Choirs at Troy University, where she oversees the choral program and teaches undergraduate and graduate classes in music education. She is the conductor of the Troy University Concert Chorale and the Director of the Troy University vocal jazz ensemble, frequency.

Noteworthy...

Congratulations to Ginny Coleman and Tuscaloosa County High School for being named one of five 2018 Music Education Innovator grant recipients. Ginny’s proposal, “All Together Now: Including Children with Severe Disabilities in Choir” provides high school students with and without disabilities the opportunity to work together to learn popular music and perform in the community.

April 18, 2018 (Reston, VA)—This spring Give A Note Foundation invited proposals for the Music Education Innovator Award that demonstrate school music programs led by creative music educators using innovative and sustainable strategies in non-traditional or traditional secondary music courses. These programs needed to show they were designed to attract students not typically enrolled in music education courses, in efforts to increase access to Tuscaloosa County High School “Wildcat” Choir music education through diversity in curriculum and approach. Thank you to founding sponsor of the Music Education Innovator Award grants, the CMA Foundation. Grant applications came in from around the country, and Give A Note is pleased to announce the five recipients of the Music Education Innovator Awards. These music programs will receive $4,000 grants to build upon programmatic successes to date, in efforts to create lasting change in their schools or districts.

Ginny Coleman, Tuscaloosa County High School, Northport, Alabama: “All Together Now: Including Children with Severe Disabilities in Choir.”—“The TCHS Wildcat Choir is currently in its third year. This choir is an adapted choir class, which means that it provides high school students with and without disabilities the opportunity to work together to learn popular music and perform in the community. It is one of the first of its kind to include students with mild, moderate, severe, and multiple disabilities, including some who are non-verbal, in a high school choral classroom where instruction is specifically designed to meet the needs of all students.”

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University ALABAMA University Univ versiity off NORTH N O RT H A L A BA M A

DEPARTMENT DEEPPAR PAAARRRTM TTME MENNTT OF ME OF MUSIC MUUSIC IC ENSEMBLES PPERFORMING E R F O R M IINNNGG EEN NNSSSEE MB M BLL EESS “Pride “Pride of Dixie” Marching r hing Band rc Ban nd Symphonic Band Wind Wind Ensemble E Studio Jazz Band Percussion Percussion Ensemble Collegiate Singers Chamber Choir Vocal Vocal Jazz Ja Ensemble Opera/Musical Theatre Shoals Symphony at UNA

DEGREES D E G R E E S OFFERED OF F E RE D Performance Bachelor of Music in P erformance • I N S T R U M E N TA TA L • VOCAL • PIANO

Bachelor of Science in Music • I N S T R U M E N TA TA L • VOCAL/CHORAL

Music Education • I N S T R U M E N TA TA L M U S I C , P - 1 2 • CHORAL MUSIC, P-12

AUDITION AUDI T ION DDATES AT E S NOVEMBER 3, 2017 JANUARY 26, 2018 MARCH 10, 2018 APRIL 28, 2018

University off NOR RTH TH ALABAMA NORTH College off Arts and Sciences Department off Music 256-765-4375 2 5 6 - 7 6 5 - 4 9 9 5 ( FA X ) MUSIC@UNA.EDU UNA.EDU/MUSIC

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Band Music Reviews One of the most difficult aspects of selecting literature for our ensembles is to select pieces that not only challenge our students and allow them room to grow, but pieces that are interesting and entertaining for our audience members. When we are working to finalizing our programs, it is always helpful to keep in mind that our concerts should have a beginning, a middle, and an end and we should select music that helps us paint that picture.

Contrasts are so critical to a successful program. You want to take your audience on a journey that is entertaining and enjoyable…and even educational! I hope the following three pieces might “fit the bill” for you on your next concert.

If you are looking for a dynamic opener for a concert, Atlantabased composer William Pitts has an excellent new work that makes for an attention-grabbing start to your program. Revelry is composed at the grade 4.5 level with very standard instrumentation. The percussion writing has several infectious grooves and is listed requiring 8 players. When I select an opening piece for my concerts, I love to find pieces that allow the entire band plenty of opportunities to play. Revelry does just that with writing that will engage both your band members and your audience as well. The piece utilizes hemiola, rapid repeated articulations and catchy melodies to create a short, 3-minute composition that is sure to start your concert on the right foot.

Like many other composers today, Mr. Pitts self-publishes his music and you can access his library from his website williampittsmusic.com.

Although not necessarily a new piece, Kevin Puts’ Charm, written in 2012, is a wonderful addition to the American Composers Forum’s BandQuest series. The BandQuest series is a wonderful collection of works by world renowned composers that are written specifically for young bands. Some of the most outstanding composers from all genres have been commissioned by the American Composers Forum to provide works at a lower grade level to expose young musicians to their works.

Charm is a delightful grade 3 piece that can serve as an initial introduction to mixed meter. The entire piece, except for one measure, is written in 7/8 time.

Care must be given to precise maintenance of the eighth note pulse, with the subdivision being consistent at 2+2+3 throughout. The percussion writing is demanding, but attainable and will provide numerous opportunities for the players to hone their skills. A unique feature of Charm is the clapping part for the wind players. This helps develop a good sense of internal pulse within the ensemble. All of the woodwind and brass parts are written in comfortable ranges and allows for the development ala breve

Randall Coleman

of characteristic tone qualities in all parts. Your students will love working on Charm and it is an excellent teaching piece. Charm is sure to be a favorite for the audience and students alike.

Written in the key of d minor, Ancient Spells and Rituals by David Gorham, could provide a delightful change of pace for your program. Gorham utilizes the minor mode to create images of dark mysterious rituals from ancient times and students will enjoy this change of pace that is very well constructed at the grade 2 level. All parts are written to give ample opportunities for students in all sections to contribute. Written entirely in 3/4 time with many different articulation markings, students are required to use care to execute these markings very carefully in order to create the exotic mood. The piece is published by Wingert Jones as a part of their Achievement Series. This series provides excellent instructional tools by including a reproducible worksheet and an end of unit written test that can be very useful for reinforcement of concepts.

Best wishes for a relaxing and enjoyable summer! Please do not hesitate to contact me if I can be of assistance to you or your program.

Randall Coleman Associate Director of Bands University of Alabama Conductor and Music Director Alabama Winds rocoleman@ua.edu

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Academy

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AMPLIFY:

2018 NOVEMBER 11-14, 2018

#NAfME2018 Come join us once again in Dallas as we dive deeply into what we do as music educators to support our students each and every day. Presenters of the following topic areas, or “Opuses,” will help you share your own practice, collaborate with colleagues from across the nation, and expand upon your toolkit of supports, ideas, models, and activities.

AMPLIFY: LEARNING - Teaching Music as a Well-Rounded Subject How do we move beyond the podium and include our students as active music-makers and leaders in our ensembles as promised in our 2014 Music Standards?

AMPLIFY: INNOVATION - Cultivating Innovative Music Making How do we successfully embrace a variety of musical experiences with this generation of students?

AMPLIFY: INVOLVEMENT - Engaging Diversity in Music Making and Teaching How do we create a fully inclusive classroom for all learners and all students, regardless of background, learning style, or level of musical experience?

AMPLIFY: INSPIRATION - Inspiring Students through Music Creativity How do we provide for the creation and improvisation of music throughout the curriculum – whether an ensemble, general music, or music appreciation class?

AMPLIFY: TECHNOLOGY Ŵ Teaching the Tech-Savvy Generation How do we integrate technology in a meaningful way that engages students and provides new opportunities that were never before possible? Presented

by TI-ME, Technology for Music Educators.

nationalconference.nafme.org

ala breve

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800-336-3768

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memberservices@nafme.org

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Creating a Practic Culture

By Colin Hill, DMA This article is reprinted with permission from the Tennessee Musician, the official publication of the Tennessee Music Educators Association.

As a music educator, there is nothing more satisfying than teaching a student who practices diligently each week.

Their progress is continuous and new concepts and material can be frequently introduced. Both the student and the teacher leave each lesson/rehearsal feeling successful and their steady progress keeps both parties fully engaged, providing mutual motivation for future sessions.

Unfortunately, for most educators, these students are few and far between. Many students exhibit sub-par practice habits.

As a result, lessons/rehearsals are often focused on material covered in previous weeks and teachers end up repeating concepts ad nauseam. Further, students often feel anxiety entering lessons/rehearsals, dreading the inevitable conversation, “Why didn’t you practice more?” Teachers often find these situations equally frustrating, and count down the minutes until these sessions come to an end.

Is this challenge an inherent trait of music education or perhaps a product of the way we teach? Certainly some students walk in the door with more discipline and a stronger work ethic than others, but I’m convinced it is possible to drastically improve the practice habits of all of our students.

Typically, bad practice habits stem from 42

a lack of interest, motivation, or perceived progress. However, when students are taught how to practice efficiently, using fun and creative methods, a successful practice routine can be developed. When programs are able to develop this successful practice culture among its members, the learning process becomes much more enjoyable for both the students and teacher.

This article is designed for educators who are looking for new and innovative ways to motivate their students to practice. I will share methods I have discovered or been exposed to as a student and as an educator at the middle school, high school, and collegiate level, as well as my dissertation research on practice habits.

When motivating students to practice, the first step should include an effective explanation of the importance of practice. While all students and educators intuitively realize that practice is necessary for our development, research on the practice habits of the most gifted consistently shows that innate talent plays a much smaller role than preparation. Further, substantial evidence suggests that mastery can only be achieved after 10,000 hours of practice early in life.

The second step is to require each student to create an individualized

practice schedule. Our society operates on a web of schedules, and if students can develop a consistent practice schedule (time and day), practice becomes a routine, rather than something that must be “fit” into each day. When executed correctly, students will “show up” to their designated practice time, much like they attend rehearsals and classes. This approach doesn’t allow for other obligations to prioritize themselves over practicing and eliminates most issues of motivation.

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e

practice habits receive deserved recognition and feel pressure to maintain their reputation as a “top student.”

Students also begin to see a correlation between practice hours and ability level.

The top players are almost always near the top of the list, while the weak players routinely finish at the bottom.

For the weaker students, this is often a tangible explanation as to why they are inferior players. Some students blame their deficiencies on their “lack of talent” rather than accepting it as a product of their work ethic.

While dishonesty will still occur, it is a favorable type of dishonesty. Those who lie about their practice hours do it because they feel pressure from their peers to practice more. Further, these lies are typically debunked rather quickly when they claim to be practicing a high number hours but consistently show up for lessons/rehearsals unprepared.

Enforcing participation is as simple as giving grade deductions for those who do not complete the public practice log on a weekly or bi-weekly basis. Further motivation can be created by giving out weekly or monthly awards to students who achieve exemplary practice hours.

Recorded Assignments

The third step is to create sustaining motivation. While some teachers resort to stern communication as their default routine, there are numerous positive methods that can be much more effective. When implemented correctly, these methods can help a student, and an entire program, develop a long-lasting devotion to practice.

Public Practice Logs Practice logs are an age-old way of encouraging/enforcing practice hours. ala breve

However, these often fail for a number of reasons: dishonest entries, lack of enforcement, poor participation, added busy work for educator, etc. A simple solution is to make these logs public and highly promoted. Instantly, practicing becomes a competitive activity, as students try to “out do” one another and avoid finishing near the bottom of the list. Practicing then becomes a desirable activity, tied to the program’s weekly culture. This system naturally accomplishes many goals. One, the students who already exhibited great

With today’s smartphones and computers, every student should have access to a recording device.

Supplementing weekly lesson assignments or rehearsal goals with individual recording assignments often resolves many practice issues.

A recording assignment could be an exercise, phrase, or excerpt that the student is required to record and submit by a designated deadline. The student may record it as many times as needed (if done correctly, it should take multiple takes), and the version submitted should be as close to “perfect” as possible.

The success of this method lies in the simple fact that it takes a substantial amount of practice to produce a 43

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recording of a perfect run-through.

Many students have the false notion that if they play it right once in the practice room, they are prepared. However, when the red light turns on, the student will feel added pressure as they attempt to capture a perfect run-through.

Successfully capturing a correct repetition requires a much higher level of proficiency.

The pressure felt when trying to record a perfect run-through is very similar to the pressure one feels in a performance.

This pressure is rarely felt in the practice room, which is another benefit of recorded assignments.

Before students submit their recordings, require that they listen closely to their final product. This process of selfevaluation can be an eye-opening experience for less experienced players and teaches them what they actually sound like. For most, this instills a

newfound awareness of their abilities, eliminating distorted self-perceptions.

Regular Occurring Solo Performances It is amazing how hard students will practice when they know they have to get up and play for their peers. It only takes one or two unprepared public performances to improve a student’s practice habits. While this may sound harsh, the fear of embarrassment is a huge motivator.

These performances could be formal (performance attire, on stage) or in a more relaxed environment (masterclass type setting). Regardless, the frequency is key. It is recommended that each student be required to perform solo at least twice per semester and could be as frequently as once per week, maybe in the form of a playing test.

Incentives and Prizes Positive reinforcement is often the most successful type of motivation. Reward your students individually or as a group for accomplishing their practice goals.

For example, individuals may receive small prizes or something as simple as candy for learning all their assigned lesson material. In a group context, students could be rewarded with a pizza party after reaching a certain number of combined practice hours. Creating incentive, especially with younger students, can be highly successful.

These methods are just a few ways that educators can motivate their students to practice. There are many other methods and strategies that can be implemented, and regardless of the approach, it is important that educators remain proactive regarding their students’ practice habits. While it is unrealistic to expect that all students will develop great practice habits, it is possible to greatly improve the culture and attitude towards practicing.

Dr. Colin J. Hill currently serves as the Professor of Percussion Studies at Tennessee Tech University. As an active performer, Colin has been invited to perform concerts throughout the United States, Europe, and Asia and performs regularly with the BluHill Percussion Duo, Bryan Symphony Orchestra, and the TTU Faculty Jazz Combo. As an educator, he has appeared as a guest artist and clinician at numerous high schools and universities throughout the United States as well as several PAS Days of Percussion and PAS International Conventions. Colin holds degrees from The University of North Texas (B.M.), Jacobs School of Music at Indiana University (M.M.), and The University of Kentucky (D.M.A)

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To arrange a visit, email music@uab.edu or call 205 934-7376

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D E P A R T M E N T

O F

F I N E

A R T S

JOIN US IN 2018!

On-Campus Audition Dates Saturday, november 4, 2017 • Monday, February 19, 2018

SCHOLARSHIPS A AV VAILABLE SCHOLARSHIPS AVAILABLE • For music majors ajors aand For both both m usic m nd non-music non-music majors majors • Renewable Renewab ble for ffo or four ffo our yyears ears • Awarded participation Awarded for ffo or p articipation in ensemble eeach ach en semble

PERFORMING ENSEMBLES EMBLES P ERFORMING ENS Faulkner University Chorus niversity C horus • F aulkner U Faulkner ingers • F aulkner SSingers Faulkner Marching Eagles arching E agles • F aulkner M Faulkner University Wind niversity W ind • F aulkner U Ensemble En semble Faulkner azz Ensemble Ensemble • F aulkner JJazz Brass Quintet uintet • B rass Q Woodwind Choir hoir • W oodwind C • Faulkner Pep Band Faulkner P ep B and

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For F or m more ore iinformation, nformation, vvisit isit www.faulkner.edu/music/auditions www.ffaulkner.edu/music/auditions orr con contact: tact:

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School of Music DEGREES OFFERED Bachelor of Music

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