The Official Publication of the Alabama Music Educators Association
Festivals
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Destinations
Atlanta, GA • Branson, MO • Chicago, IL • Gatlinburg, TN New Orleans, LA • New York, NY • Orlando, FL
Saint Louis, MO • San Antonio, TX • Toronto, ON Washington, DC • Williamsburg, VA . . . AND MORE
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Ala Breve is published four times a year (August, October, February & May) by the Alabama Music Educators Association.
ADVERTISING & COPY DEADLINES
August/September
(Back to School issue): July 15
October/November (Conference issue): September 15
February.March (All-State issue:)
January 15
May/June (Summer issue:) April 15
Unless otherwise indicated, permission is granted to NAfME members to reprint articles for educational purposes. Opinions expressed in this publication are not necessarily those of AMEA or the Editor. All announcements & submissions are subject to editorial judgement/revision. The Alabama Music Educators Association is a state unit of NAfME:
The National Association for Music Education is a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME/ AMEA membership is open to all persons engaged in music teaching or other music education work.
Editor & Advertising Manager: Garry Taylor 1600 Manor Dr. NE Cullman, AL 35055 (256) 636-2754 editor@myamea.org
AMEA Governing Board 2024-2025
Dr. Phil Wilson President Ogletree Elementary School 737 Ogletree Road Auburn, AL 36830 (334) 538-9679 president@myamea.org
Lori Hart President, Alabama Bandmasters Association Guntersville High School 14227 US 431 Guntersville, AL 35976 (334) 797-1778 aba_president@myamea.org
Alicia Luttrell President, ELEM/GEN Old Shell Road School 3160 Heather St. Mobile, AL 36607 (251) 221-1557 aluttrell@mcpss.com
Joey Harbison Industry Representative Gadsden Music Company 607 Broad Street PO Box 132 Gadsden, AL 35901 205-910-2622 jmharbison@aol.com
Dr. Travis Bender
President-Elect
Oak Mountain High School 5476 Caldwell Mill Road Birmingham, AL 35242 (205) 682-5267 president_elect@myamea.org
Amanda Slay President, Alabama Vocal Association Hoover High School 1000 Buccaneer Drive Hoover, AL 35244 (205) 439-1227 amanda.slay.ava@gmail.com
Stephen Foster President, HED Division Faulkner University 5345 Atlanta Hwy Montgomery, AL. 36104 (334) 386-7656 sfoster@faulkner.edu
Andy Meadows Alabama Department of Education Arts Education Specialist 50 North Ripley Street Montgomery, Alabama 36104 (334) 694-4768 ameadows@ALSDE.edu
Dr. Russell (Rusty) Logan Executive Director 2020 Janabrooke Lane Auburn, AL 36830 (334) 663-1702 executive_director@myamea.org
David Raney Assistant Executive Director 25162 Hudson Bend Athens, AL 35613 (256) 651-8223
Dr. Rob Lyda
Immediate Past President Cary Woods Elementary School 715 Sanders Street Auburn, AL 36830 334-663-0898 past_president@myamea.org
Heather Holmes Recording Secretary Oak Mountain Middle School 5650 Cahaba Valley Rd Birmingham, AL 35242 205-682-5210 recording_secretary@myamea.org
Jordan Ford President, Alabama Orchestra Association Thompson Middle School (205) 685-8100 jkirchner.1223@gmail.com
Dr. Meghan Merciers Alabama cNAfME Advisor University of North Alabama UNA Box 5040 142 Music Building Florence, AL 35632-0001 (256) 765-4518 mmerciers@una.edu
3680 Preserve Blvd., Panama City Beach, FL 32408 https://www.panamacitybeachmusicfestival.com/
The University of Alabama School of Music
810 2nd Avenue, Tuscaloosa, AL 35487 https://music.ua.edu/
Troy University John M. Long School of Music
112 Long Hall, Troy, AL 36082 https://www.troy.edu
The University of North Alabama
UNA Box 5040, Florence, AL 35632 https://www.una.edu/schoolofthearts
The University of South Alabama Department of Music
5751 USA Drive South, Mobile, AL 36688 https://www.southalabama.edu/colleges/music/
Dr. Phil Wilson AMEA PRESIDENT Keep the Music Going
“You are the music while the music lasts.”
T. S. Eliot
Is there ever a time when you are not thinking about music, or playing music, or considering what type of music to read next? If you’re like most Alabama music educators, music is almost always at the forefront of your mind even when you are supposed to be resting. T. S. Eliot pinned it correctly, that you are the music because the music always lasts.
In the past few months since conference, you have tuned and practiced, set up risers and broken them down, planned and perfected, and rehearsed, rehearsed, rehearsed all to keep the music going. You have prepared students for All-State, honor bands, choirs, and orchestras,
parades, district music assessments, and concerts. You have been the music for several months, but soon it will be time to rest and rejuvenate. For some, rest will simply mean doing less music for a couple of weeks, and for others, it will mean doing full professional development, summer camps, higher degrees, and prepping for the next school year. Regardless of which category you fit in, you are still the music, and the music will last.
This school year, we have had many opportunities to keep the music going by showing the rest of the state how we make the music happen in our schools and classrooms. Thank you to those who participated in the 40th Anniversary of the Music In Our School Month (MIOSM) celebration.
A big thanks to Dr. Becky Halliday and
her MIOSM committee for creating fun, light-hearted challenges for us to post weekly on social media. Thanks to those who posted photos and videos on the AMEA social media platforms honoring and celebrating the great music making occurring in our Alabama schools. I was overjoyed seeing and hearing the wonderful array of performances as well as informances of your students singing, dancing, playing, creating, composing and many other things, keeping the music going. I was honored to represent AMEA by accepting a resolution from the Alabama Department of Education recognizing March as Music In Our Schools Month. The music sharing does not have to stop! As you create opportunities for your students, continue to post on social media and use the hashtag ala4musiced. To see other postings, search #ala4musiced on our AMEA social media pages. As an association our task is to continue the learning beyond the conference. Posting and sharing from your classrooms helps us to fulfill this task and professionally develops our Alabama music community all year. Thank you for keeping the music going.
You continued to make music by extending the learning beyond the walls of our schools and classrooms, and into the rotunda of the Alabama State House and the Gordon Persons Building which houses the Alabama Department of Education. I cannot think of a stronger way to let our legislators know that music is alive and well in our state than to take the music where decisions are being made that directly affect us. On Thursdays during the months of February and March, during the legislative sessions, schools from across the state presented
Arts Education leaders meet with State Superintendent Dr. Eric Mackey designating March 2025 as “ARTS EDUCATION MONTH” in Alabama schools.
concerts to lawmakers. Congratulations and thanks to The Ardmore High School Chamber Choir, the HewittTrussville Middle School Honor Choir, the Booker T. Washington Magnet Choral Ensemble, the Silurian Strings at Thompson Middle School, the LES Joyful Jammers from Loachapoka Elementary School, and the Russell County High School Low Brass Ensemble for their outstanding performances and representations of all of AMEA. These small group ensembles received accolades from the State Superintendent of Schools, Dr. Eric Mackey, and several arts organizations via social media and other print sources. Thank you to the Alabama State Department of Education’s Andy Meadows, and the Alabama Institute for Education in the Arts for making this wonderful opportunity available for some of our students. You too can keep the music going by applying to perform in the Capital Tunes Celebrations. Be sure to watch your emails for the AMEA eNewsletter during the fall. The Capital Tunes celebration application, as well as other statewide opportunities will be posted there. Also, check the website for upcoming events and dates for all AMEA sponsored events. www.myamea.org
In the April edition of the AMEA eNewsletter, we posted a statement from NAfME regarding the closure of the U.S. Department of Education and its potential consequence for music education funding, specifically Title funds. We encourage you to visit https://nafmeorg.quorum.us/ campaign/115284/ for further details and contact your state representatives in Washington D.C. to ensure our music never ends.
“You are the music while the music lasts,” Over the next couple of months, I want to encourage you to stop, rest, and reflect on all that you have accomplished this school year. While the music never ends, we still need time to make sure we are offering the best learning experiences we can for our students. We too need time to step away and allow rest so that we can continue to grow. As always, need our assistance, please let us know.
The University of North Alabama Department of Music offers scholarships to qualified music majors and minors in all instrumental, vocal, and piano programs through auditions
Degrees Degrees Degrees
Ensembles may be eligible for a rdless of their academic major.
Whew! What a year it has been! I feel like the 2024-25 school year has flown by at lightning speed. I have had some exciting performances at my school, and my students have grown and learned so much. The AMEA schedule has been full of many wonderful opportunities for our students and teachers. The elementary music festival in the fall with Dr. Erika Knapp and Dr. Morgan Luttig was an enormous success with students learning new music and performing with confidence. At the fall workshop, Dr. Knapp demonstrated to our teachers how to spiral music curriculum content and integrate concepts across grade levels. Our conference at the BJCC in January was one of the biggest and best attended in the history of AMEA. I am still unpacking the lessons and activities from the conference I want to share with my students. I tell you what; I need a break! Are you not relieved to know summer break is around the corner? How will you unwind and recharge over the summer? Remember, it is important for us teachers to prioritize our own well-being during summer break.
Give yourself permission to set some boundaries and prioritize relaxation. Try to limit technology, particularly when it is work-related. Resist the urge to immediately check each email notification and continually update lesson plans. Relax and make time to delight in those activities you enjoy the most. Spend some time outdoors, read an entertaining book, take a nap, or learn a new hobby.
Spend some time with family and friends through social activities or travel. Try to reconnect and nurture those relationships with the people who mean the most, the ones who will still be around after you retire.
I do not know about you, but summer is my time to check in with my doctors. Don’t forget to prioritize your health. Exercise regularly and eat a healthy diet. Take care of your body so you can be strong and healthy for the new year when it comes.
Do something on your bucket list. It could be something to expand your horizons musically. Maybe learn a new instrument or join a different ensemble. Often summer is the only
time we have to really focus on our own musical goals. I like to learn new repertoire during summer break when I have more time to practice.
Don’t forget to reflect on the past school year. Identify your areas for growth. How can you improve your classroom environment? How can you become more aware of the needs of your students? Then, begin making plans for the new year. Look at the school calendar and make a fall to-do list. Listen to new repertoire that you can use for a student performance. Find some new music your students will enjoy listening to and learning about.
The new year will be here before you know it. Don’t forget about yourself. Prioritize your well-being. You need downtime. Unplug, disconnect, and recharge so you can be your best self for the next school year.
Jordan Ford, President Alabama Orchestra Association
AOA Happenings
It is hard to believe we have reached the conclusion of another school year. What a year of hard work and exciting adventures it has been! AOA’s spring semester is busy with both All-State Orchestra and Orchestra Music Performance Assessment.
All-State went off without a hitch at the University of Alabama’s Moody Music Building on February 13-16. We are so grateful to our clinicians, Mr. Droste, Dr. Heath, and Mr. Nix, for leading such wonderful ensembles full of Alabama students. We also want to thank our seating judges and sectional coaches for assisting in the preparation of such a wonderful program.
The Orchestra Music Performance Assessment was held on April 4 in the Performing Arts Center at Thompson High School in Alabaster. Nine orchestras from middle and high schools across the state performed fabulously in front of judges: Dr. Daniel Stevens, Mississippi State University; Joe
Lee, Huntsville Youth Orchestra; MacKenzie Hammond, Chattanooga School for the Arts & Sciences; Dr. Morgan Soja, Samford University. We congratulate all of the orchestras and their directors on their hard work preparing for the assessment.
• Academy for Academics & Arts Middle School Strings
Mary Peck, Director
• Calloway-Smith Middle School Strings
Barbara McMillian, Director
• Calloway-Smith Middle School Orchestra
Barbara McMillian, Director
• Emma Sansom Strings
David Ritschard, Director
• Gadsden Middle School Strings
Aleesa Parnell, Director
AOA All-State Conductors with AOA President Jordan Ford
• G. W. Carver High School Orchestra
Catherine Cochran, Director
• Ramsay High School String Orchestra
Rachel Christmas, Director
• Thompson Middle School 6th Grade Orchestra
Jordan Ford, Director
• Thompson Middle School Silurian Strings
Jordan Ford, Director
Our final event of the season is the rescheduled Region Orchestra events taking place May 24-25 in Huntsville and Greeneville. We are looking forward to the performances in both north and south Alabama, and are so glad that both events were able to be rescheduled from their original snowed-out dates in January!
The AOA will remember the 2024-2025 school year as a successful one full of orchestral opportunities for the state of Alabama. We can’t wait to see what the next year will bring!
Musically yours, Jordan Kirchner Ford
AOA President
2025-2026 AOA Dates
• String Scales/Etudes/Excerpts posted to the website: July 1, 2025
• Woodwind/Brass/Percussion Scales/Etudes posted to website: August 8, 2025
• Strings/Harp/Piano Audition Videos: due October 17, 2025
• Woodwind/Brass/Percussion Audition Videos: due November 14, 2025
• 2026 All-Region Orchestra Festivals: January 10-11, 2026
• 2026 All-State Orchestra: February 12-16, 2026
• 2026 OMPA: April 10, 2026
AOA Orchestra MPA - Thompson High School Performing Arts Center
Stephen Foster, President Higher Education
Improving STEM Education With Arts Education
Staying abreast of what is happening in public and private schools is very important for all higher education educators. We have a responsibility to prepare our students to enter the workplace with an understanding of what is happening in the world of education and what might impact music and arts education in their schools. With this in mind, I want to delve into a curriculum that is growing in popularity in many schools around the country.
The arts inspire innovation by leading us to open our minds and think in new ways about our lives – including the work we do, the way we work, and the customers we serve.”
W. James McNerney, Jr. Chairman, President and Chief Executive of The Boeing Company
Science, Technology, Engineering, and Mathematics (STEM) education has grown in popularity in our schools to better prepare students for careers in these fast-growing fields. The curriculum focuses on teaching concepts and hard skills with an emphasis on problem-solving and hands-on learning. The reason for this curriculum becoming increasingly popular is the fact that technology is driving innovation in these fields and opportunities for employment in these fields are increasing.
Hard skills refer to learning skills referring to specific knowledge and technical abilities that can be measured and that are learned through training. Some examples of hard skills are data analysis, the operation of machinery, or programming languages. Soft skills deal more with “people skills” such as problem-solving, teamwork, communication, and critical thinking.
The arts, while they are resplendent with learning hard skills, are also, and just as importantly, about soft skills. In music specifically, students learn through their music and through their ensemble’s skills such as communication, teamwork, problem-solving, social skills, creativity, discipline, perseverance, cultural and social awareness, interpretive skills, analysis skills, and collaboration just to name a few.
A relatively new teaching method is known as Science, Technology, Engineering, Arts, and Mathematics (STEAM). STEAM adds arts into the original STEM curriculum to augment
the hard skills learned with soft skills that will help students learn the STEM subjects and be more proficient in them by enhancing the hands-on experience by adding creativity, critical thinking, communication, and social skills into the curriculum. Adding the arts education component to the Science, Technology, Engineering, and Math component, students are encouraged to solve problems through a critical and creative mindset. Unique solutions to problems can result when you look at the problem through many different lenses and not only using technical knowledge. Adding arts adds the tools of creativity and critical thinking skills to the STEM curriculum allowing the students to be better equipped to be innovative and successful in the workplace.
I encourage you to investigate and learn more about how integrating two or more standards from the arts and one of the STEM areas can improve learning and understanding and how it can potentially improve the curriculum in a school that uses only the STEM model. Advocacy for STEAM vs STEM education will be of great benefit to the students and another advocacy point for the arts education programs in our schools.
W. James McNerney, Jr. Chairman, President and Chief Executive Officer of The Boeing Company said “At Boeing, innovation is our lifeblood. The arts inspire innovation by leading us to open our minds and think in new ways about our lives – including the work we do, the way we work, and the customers we serve”.
Events For Middle & High School Students
Sept. 24, 2024 Festival of Voices
Oct. 13, 2024 Flute Day
Nov. 2, 2024
Dec. 7, 2024
Single Reed Symposium
All-State Band Clinic
Jan. 28, 2025 ChoralFest!25
Feb. 21-22, 2025
March 7-9, 2025
On-campus auditions for scholarships
Feb. 15, 2025
March 8, 2025
Middle School Honor Band
High School Honor Band
Honor Band participants only March 15, 2025
Scan the QR code to learn more
Virtual auditions available upon request. For more information, visit montevallo.edu/music/auditions
Amanda Slay, President Alabama Vocal Association
Reflect and Advance
Someone told me once that unexpressed gratitude is like a gift purchased, wrapped, but never given. I would be remiss not to express my gratitude to the AVA organization and for the service and continued dedication of its members to choral music education in the state of Alabama. We continue to evolve, grow, and thrive as an organization because of your ongoing commitment, passion, support, dedication, and energy. You, the AVA membership, give so much of yourselves to your students and communities and our organization is better because of your work. Thank you.
This year has been filled with inspiring performances, enriching professional development, and meaningful collaboration. As you reflect on this school year and prepare to advance to the next - I implore you to stop. Before making mental notes of how you can do better next time, honor what you did well this year. If you haven’t already; stop to
acknowledge the multitude of things you have achieved in the classroom and on the performance stage this year. Don’t even think about school…for a while. Take a break. You deserve it.
All-State
The 2025 All-State Festival was another huge success! Each choir presented outstanding and passionate performances led by wonderfully energetic and engaging clinicians. Thank you to the AVA directors who served in every capacity from site and choir coordinators to rehearsal monitors. It takes all of us to “make it happen” and you all get it done every year.
I am pleased to announce that the 2026 All-State Festival will be held March 12-14, 2026 at Samford University in Birmingham. More information is forthcoming about the details of this venue change. Please be sure you are receiving emails from AVA. We will communicate through email, the website, and the Ala Breve publication. You can request to be added to the AVA mailing list by visiting the AVA Website under Director Resources.
All-State Show Choir
Thank you to Cameron Johnson for executing another fantastic All-State Show Choir Festival. This year the ASSC performed on Saturday, April 12th along with The Wallace Sound show choir from Wallace Community College and a solo performance from state OCS winner, Hudson Bone. It was a wonderful weekend of dancing, singing, and friendship. Thank you also to Martez Tidwell for hosting this year’s festival at Spain Park
High School. The dates and location for the 2026 ASSC Festival will be released later this Summer.
AVA Adjudicator Training
In response to director feedback, this year the AVA governing board embarked on a path to strengthen and standardize the adjudication process for AVA-sponsored events. Working alongside the experience and incredible guidance of Dr. Megan Rudolph (Miles College) we
have begun a process by which our adjudicators are equipped with clear expectations, consistent rubrics, and practical strategies for providing meaningful, constructive feedback. This initiative represents a significant step forward in our mission to uphold fairness, professionalism, and educational value in all AVA-sponsored events. The feedback from directors so far has been overwhelmingly positive. However, this training is still evolving. As we look ahead to next year’s training, please share your feedback and ideas with the AVA Governing Board.
Summer Board
The annual AVA Summer Board Meeting will be held June 1-4 at Hoover High School. During this time we will reflect on the past year and look ahead to another successful year at the district and state levels. As I have expressed in the past two general membership meetings, this summer the board will work to develop a plan to implement sight-reading into the All-State audition process. The intention is to present this plan to the membership at Fall Workshop in September. If you have feedback, suggestions, ideas, and/or concerns about this topic or any others, please take time to fill out the AVA Teacher Survey. Your feedback is crucial to the future growth and success of our organization.
Lori Hart Alabama Bandmasters Association
Scattering Seeds of Purpose and Passion
School band directors are more than just music teachers. They are cultivators of character, discipline, teamwork, and joy. With each rehearsal, performance, and moment of encouragement, they scatter seeds—seeds that often bloom far beyond the concert hall. These seeds are not just about music; they are about life. The 2025 Alabama All-
State Band Festival was a true testament to how we work with purpose and passion for our students.
The countless hours spent by so many individuals helped to ensure this year’s All-State Festival was a resounding success. We began the festival with our PresidentElect, Keith Anderson doing a fantastic
job with our Solo Festival. I commend the sixty-nine participants in the prelims, who poured their hearts and souls into their performances. To celebrate 25 years of this event, the Solo Festival winner was awarded the Glenn Spiller Solo Festival Scholarship. Congratulations to Thomas Washer for his first-place finish along with our other finalists: Gabriel Ballesteros Avila, Madeline
Outgoing District I Chairman Davin Kyle
Outgoing District III Chairman Sid Hearn
Outgoing District V Chairman Emily Gray
Outgoing District VII Chairman Susan Henderson
Executive Secretary Joel Henson
Outgoing Jazz Chair Nick McDonald
Incoming President Keith Anderson presents the Gavel Plaque to Outgoing President Lori Hart
Cagle, Luke Chynoweth, Ashlynn Hayes, Mollie Lewis, Michael Madera, Cannon Spidle, and Caleb Wilson. Our All-State Band conductors were absolutely incredible and gave so much of themselves to our students. I am so appreciative of our hosts and percussion techs; Red Band conductor Dr. Amy Woody was hosted by Jon Bubbett and Rebekah Hammock, White Band conductor Mr. Randall Standridge was hosted by Heather Henson and Doug Teuscher, Blue Band conductor Dr. Peter Boonshaft was hosted by Damon McAllister and Zack O’Bryant, Land MS Band conductor Dr. Mary Land was hosted by Tim and Connie Hammond and Josh Lynch, and the Owens MS Band conductor Mr. William Owens was hosted by David Caddell and Courtney Langford. The percussion equipment was organized and provided for all of our bands by Meredyth Petersen and the Directors of District 7.
As I reflect on the All-State Band Festival and the broader impact of band programs in Alabama, I’m filled with a profound sense of gratitude. Gratitude for the dedicated members of the entire ABA Board, who tirelessly work behind the scenes to ensure
our students have opportunities to grow and experience musical moments that they will cherish for a lifetime. I am grateful to have served on the ABA Board with our outgoing Past President Joel Henson, Jazz Chairman Nick McDonald, along with our District Chairmen Davin Kyle District 1, Sid Hearn District 3, Emily Gray District 5, and Susan Henderson District 7. They have given their time, energy, and leadership selflessly, and it is appreciated by all of us. I also want to thank the awesome exhibitors that we had! The venue was always busy and it is exciting to see new products and concepts being brought into our band world!
One of the greatest highlights of the festival was having Dr. Paula A. Crider share her immense knowledge, her unwavering passion, and the beauty of her heart with us. She is a beacon of light that has impacted countless people throughout her prestigious career. The seeds she has sown in the music education community are deeply rooted in all who have had the opportunity to learn from her. I am beyond grateful to the ABA Board for the opportunity to have her join us.
As Dr. Crider reminded us, ”Why do we
Solofest Finalists
throw ourselves–heart, soul and often-abused bodies-into a relentlessly demanding occupation? Because music can touch our souls in a place nothing else can. Because the smile of a child can make it all worthwhile. And if we do our jobs well, every day has the potential for sharing the joy of high achievement. Through music, we teach life lessons. We create memories that will last long after we are gone.” In other words, what we scatter through our teaching allows our students to become more responsible, develop leadership skills, and have a sense of belonging. Band becomes a place where students find their voice, their people, and their purpose. Many will not go on to pursue music professionally, but the lessons planted by us stay with them, like a steady rhythm guiding their steps through life. In the end, the true measure of a band director’s impact is not in the trophies or the performances, but in the lives touched and the futures shaped. It isn’t about what we gather, it is about what we scatter. I pray that I have scattered more than I gathered and I thank you, from the depths of my soul, for the opportunity to have served as President of the Alabama Bandmasters Association. May you all have a peaceful ending to the school year, filled with a renewed sense of purpose and passion.
1st place, Thomas Washer, Helena High School - winner of the Glenn Spiller Solofest Award and a $500 Scholarship
2nd place, Caleb Wilson, James Clemens High School
3rd place, Cannon Spidle, James Clemens High School
4th place, Madeline Cagle, Hoover High School
5th place, Gabriel Ballesteros Avila, Bob Jones High School
6th place, Michael Madera, Rehobeth High School
7th place, Mollie Lewis, Auburn High School
8th place, Ashlynn Hayes, Auburn High School
9th place, Luke Chynoweth, Auburn High School
10th place, Steffan Thurman, Tuscaloosa Academy of Fine Arts at Paul W� Bryant HS
Owens Middle School All State Band 1st Chairs
Instrument Student Name School
Flute Charlotte Yother Pizitz MS
Oboe Katherine Degaetano Rainbow MS
Bassoon Karah Hilley Albertville HS
Clarinet Riley Lyndon Pizitz MS
Bass Clarinet Shrey Nehwal Chelsea MS
Contra Bass Clar. Sam Teem Central Baldwin MS
Alto Saxophone Gentry Bilyeu Shoals Christian School
Baritone Sax Michael Vingilis Journey MS
Trumpet Alexander Wing Liberty MS
French Horn Olivia Williams North Jefferson MS
Trombone Dyland Escobedo Albertville HS
Baritone Camon Still Rocket City Collective
Tuba Cayden Cox Moody HS
String Bass Kaelyn Stearns Jasper Junior High
Percussion Christopher Hicklin Bumpus MS
Land Middle School All State Band 1st Chairs
Instrument Student Name School
Flute Minseo Kim Journey MS
Oboe Chloe Burns Monrovia MS
Bassoon Aiden De La Garza Liberty MS
Clarinet Alex Liu Pizitz MS
Bass Clarinet Jake Smith Holy Spirit Regional Contra Bass Clar. Kahlan Johnson Dauphin Jr. HS
Alto Saxophone Yibin Chen Baldwin Arts
Tenor Saxophone Thatcher Jones Bumpus MS
Baritone Sax Sammy Flores Coppinville Junior HS
Trumpet Lucy Perkins Sanford MS
French Horn Evie Hutchinson Simmons MS
Trombone Bradley Dow Clark Shaw Magnet
Baritone Jenson Simpson Daphne MS
Tuba Milana Atkins Auburn Junior HS
String Bass Avie Thompson Pizitz MS
Percussion Caleb Nelson Simmons MS
Phi Beta Mu Scholarship Winner Thomas Washer, Helena High School, congratulated by ABA President Lori Hart
Owens Middle School All-State Band 1st Chairs
Land Middle School All-State Band 1st Chairs
All State Red Band First Chairs
Instrument Student Name School
Flute Miguel Quintero Foley HS
Oboe Daniel Phillips Pelham HS
Bassoon Patrick Eagly Sparkman HS
Clarinet Maxwell Lee Pike Road HS
Bass Clarinet Payton Cheatham James Clemens HS
Contra Bass Clar. Jessica Dorantes Austin HS
Alto Saxophone Eliza Chang Robertsdale HS
Tenor Saxophone Zane Rigdon Pike County HS
Baritone Sax Alexandros Chingas Helena HS
Trumpet Ellen Head Haleyville City Schools
French Horn Madeline Cagle Hoover HS
Trombone Steffan Thurman Tuscaloosa Fine Arts Academy
Baritone Hampton Bowen Horseshoe Bend Hs
Tuba Chase Ellington T. R. Miller HS
String Bass JaLaan DuBose Mattie T. Blount HS
Percussion Mary Mollie Lewis Auburn HS
All State White Band First Chairs
Instrument Student Name School
HS Flute Audrey Mitchell Alabama School Of Fine Arts
Oboe Taurus Smith Buckhorn HS
Bassoon Jordyn Kibugu Tuscaloosa Fine Arts Academy
Clarinet Alex Galloway Thompson HS
Bass Clarinet Jada Lorio Southside HS
Contra Bass Clar. Nina Neal Satsuma HS
Alto Saxophone Shane Tucker Hayden HS
Tenor Saxophone Everett Morman James Clemens HS
Baritone Sax Jack Courson Robertsdale HS
Trumpet Cas Weinacker Daphne HS
French Horn Talise Milligan James Clemens HS
Trombone Will Hayes Montevallo HS
Baritone Matthew Eldridge Alma Bryant HS
Tuba Michael Madera Rehobeth HS
String Bass Jackson Crain Ashville HS
Percussion Chaz Gaillard Auburn HS
All State Blue Band First Chairs
Instrument Student Name School
Flute Sarah Kate Smith Hewitt Trussville HS
Oboe Tripp Griffin Bob Jones HS
Bassoon Raeanna LaVoy Enterprise HS
Clarinet Quentin Dunham Oak Mountain HS
Bass Clarinet Jazmine Crumpton Northridge HS
Contra Bass Clar. Caedmon Dark Hoover HS
Alto Saxophone Riley Thomas Hokes Bluff HS
Tenor Saxophone Joshua Chaviers Mt. Pleasant Christian School
Baritone Sax Ryan Beavers Lauderdale County HS
Trumpet Owen Workman James Clemens HS
French Horn Laurel Howard Grissom HS
Trombone Liam Stowe Mountain Brook HS
Baritone Kai McCoy Fairhope HS
Tuba Graham West Carroll HS
String Bass Robert Stefurak W.P. Davidson HS
Percussion Samuel Coggin Clements HS
All-State Red Band 1st Chairs
All-State White Band 1st Chairs
All-State Blue Band 1st Chairs
Dr. Meghan Merciers
cNAfME Advisor
JP Aufdemorte cNAfME President
Reflections from Music Students across Alabama
For me, the end of an academic year brings much reflection. No matter what happened during the year, I ended it as a different person than when it began. Every student goes through these changes regardless of what school they attend, what degree they’re pursuing, or what year in school they’re in. This period of reflection is especially important for graduating seniors. They entered college as a teenager fresh out of high school, and four years later, they have grown and developed into an adult about to enter the workforce. In this article, you will read the reflections of two graduating seniors on what lessons they learned and wish they knew as younger students.
The first reflection is from Jenna Brown, a senior music education major at The University of Alabama. “Coming into UA, I did not know about all
of the options there were for music education majors. For music education, we are certified K-12. I came into my degree wanting to only do band, but I’m leaving wanting to do all things. This has inspired me to pursue a career in general music. Another thing that I have learned throughout my degree is that everything is transferable. I may learn something in my clarinet lessons that could be applicable in choir and vice versa. My advice is to do all you can. You never know when you might find something you absolutely love. Lastly, always be open to learning and growing ”
The second reflection is from Mark Sayler, a senior double majoring in music education and tuba performance at The University of South Alabama. “The main thing I think I learned in college was how to say ‘no.’ I entered college as a multifaceted instrumentalist
and singer and wanted to do everything. I wanted to play in every ensemble and perform with every group, but that was very unrealistic. You need to reserve your time in college for yourself, for personal practice, and even for work. You need to reserve time for your friends and deserve time to eat. It’s best to leave college a complete human, not an empty, burnt-out shell that worked themself to death. Enjoy college and grow fully!”
No matter what year you are in, I hope you remember to reflect on how you have developed and grown this past year and how you can use this momentum to create for the future.
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Teacher Profile
Editor’s Note: Each Teacher Profile spotlights a music educator from across the full community of AMEA - new teachers, experienced teachers, retired teachers, and teachers from each of AMEA’s divisions This issue features Jeff Hudson, band director at Lee-Scott Academy in Auburn
Briefly tell us about your current position, how long you’ve been there, and a little about your schedule.
• I am the Director of Bands at Lee-Scott Academy in Auburn, where I direct the Marching , Concert, Jazz, and Beginner Bands. I have been at Lee-Scott for 17 years after retiring from the Public School System.
Tell us about your background – hometown, college, family, etc.
• I grew up in Douglasville, GA (just west of Atlanta) where I attended Lithia Springs HS. My parents were very supportive of my interest in music and my participation in the band programs. I attended Auburn University and also got my Master’s degree from there, and was the Graduate Assistant under Bill Walls and Johnnie Vinson. I am married to my wife Lynne and have two sons, Wilson and Andrew.
Jeff Hudson
Why did you decide on a career in music education?
• I decided on a career In Music Ed largely due to the respect I had for my high school band directors, Tim Wheeler and Bill Greenhaw, and the interest they took to guide me along this path.
Who are some of your teachers/colleagues that you would consider mentors and why?
• Some of the people I would consider my mentors would be Jim Nettles (Andalusia) and Mike Stough (Opelika) who both helped guide me through my career. I’ve also had terrific support from all the administrations I have worked with.
Are there any embarrassing teaching moments you’re willing to share? What are they?
• A rather embarrassing moment I had was forgetting a Baccalaureate performance one Sunday morning. I got a call from the principal about 15 minutes before it started, rushed to get dressed (no shower or shave), and got there with the band in place on the stage waiting on me to play the Processional.
Name one accomplishment that fills you with pride so far in your career.
• I guess the proudest moments I have are when the band finishes a performance and they know it was outstanding and their hard work paid off.
I’m also very proud that since the inception of MPA, the Lee-Scott Band has made straight Superior ratings each year.
What would your students be surprised to find out about you?
• My students might be surprised to find out that I was also a tennis coach. At my first high school job.
Are you involved in other music-related activities in addition to your teaching position? If so, please explain.
• I love being a part of my church and playing in the orchestra on Sunday mornings.
How do you spend your summer breaks?
• I like to spend my time off in the summer fishing, playing pickleball, and taking care of the yard.
Outstanding Band Director Award presented to Carlton Wright by Awards Committee Chair Garry Taylor
Outstanding Young Band Director Award presented to Josh Meyer by Awards Committee Chair Garry Taylor
Phi Beta Mu Hall of Fame Inductee Bill Connell and Sponsor John Bradley
Phi Beta Mu New Member Nathan Haskew
Phi Beta Mu New Member Meredyth Petersen
Phi Beta Mu New Member Leah Seng
Mariachi Comes to Alabama: If you Teach It, They Will Come
Keith Brandenburg
“Mariachi music is family music.” Ramon Rivera, a mariachi teacher at Mount Vernon high school in Washington, gave this answer when a news reporter asked how he thought communities in Alabama will respond to mariachi. The reality of his answer could not be more evident in how mariachi has affected the community in Pinson, Alabama.
The idea was simple: we have a growing Hispanic population and we need a way to get these students more involved in music programs. We tried to program more Spanish pieces at the elementary schools, Spanish pieces sung in choir, band pieces written by Hispanic composers, and by highlighting Hispanic culture. While these are great things to do in any program, it simply wasn’t enough to create excitement or traction within the community. We know that music classes are a place for all students, from all backgrounds, but there wasn’t a place for our Hispanic students to grow musically and celebrate their culture. We have a jazz band, percussion ensemble, drum circles, etc., but nothing specifically for beginner strings or Spanish speaking students. The solution was staring us right in the face the whole time, we needed to start a mariachi group. We could combine music students and non-music students, Spanish speakers and non-Spanish speakers, and introduce a whole new generation to strings and mariachi culture.
What do we need to start mariachi and how can we get it done? In 2022, I went to my principal and asked about adding a class section specifically for mariachi. Fortunately, my principal, at the time, saw the growing community in the school and had also been trying to find a way to engage these students as well as their parents. He had seen how music, marching band specifically, brings more parents, students, and community members to the school to volunteer and participate than other programs at the school. He told me to find interested students and we would figure something out. I also reached out to the arts’
supervisors in our school system. They too had been trying to figure out ways to engage our system’s growing Hispanic population and were always trying to find programs to introduce and provide arts’ education to more students. We had been mulling over the idea for a while and at that time our school system had ESSR funds from 2020 in addition to other funding that helped us purchase a beginner set of mariachi instruments. We purchased guitars, violins, vihuelas, and guitarróns. We were now ready to begin our journey as the first mariachi of Alabama.
Honestly, as we were starting the class, I was terribly nervous. As a trumpet player, I have not spent much time with string instruments. Like most, I took class strings and played “Twinkle, Twinkle” on the different instruments. I rolled my eyes at the string professor and said, “ I am never going to need this.” Oh, to know then what I know now. But as teachers, we adapt and grow so I started playing the violin, vihuela, and guitarron. Was I good? No. Did I make beginner mistakes in front of the students? Yes, almost everyday. Did we learn a lot of things together that first semester? ABSOLUTELY! Fortunately for me, I had help. Caleb Wilemon, a Spanish teacher and guitar player, who marched and sang in college, was willing to give up his prep time to help us navigate the strings and Spanish. We learned basic folk songs, mostly out of elementary music books and songs we could find in collections. The students spent the year playing, singing, and were able to perform at a few venues. After a year or so of teaching and promoting, we had the makings of mariachi players but not a band. We had about twenty or so beginner students each semester, but we all knew that for this program to grow it needed to move to the next step. We needed credibility, authenticity, and excitement.
In the fall of 2023, the district’s fine arts department provided professional development funding specifically for mariachi and the mariachi program at Pinson. We
were able to bring Ramon Rivera of Mount Vernon, Washington, to our Alabama school. My goal was, once again, simple: find the Hispanic students in the school that we don’t have in classes and show them that mariachi is a place where they can learn and celebrate their music and culture. As someone who isn’t Hispanic, it is hard to convince students that you are going to teach, perform, and celebrate their culture correctly. In discussions with Ramon, I mentioned how I wanted him to show the school and community that we are here to learn and perform music that the community will appreciate and respect. We want the kids’ experience to be as authentic to the culture and genre as possible or at the very least demonstrate our profound appreciation for it.
During the few days he was here we were able to excite our Hispanic students, and ended up with twenty or so more students joining mariachi classes. The classes were still split between the fall and spring semester. At this point we were excited to get more people involved, especially since we signed up numerous Spanish speaking and ELL students. We were able to educate the administration, faculty, and district leaders why a program like this is so vital, not only in our school, but in many other schools as well. We spent time with students playing music, talking about the background of mariachi, and having professional development opportunities for teachers on how to integrate more music and information into Hispanic Heritage month. By December, the fall group of nineteen students performed at the Jefferson County Board of Education for the superintendent and central office personnel. This performance was a rousing success by every measurement. We had made our first big mark on the school system’s view of how music programs are expanding and what mariachi can do.
In the spring of 2024, we were in talks with our administration and counselors about adding a second class for mariachi. At the same time Greg Gumina, instrumental and choral supervisor for Jefferson County Schools, secured an Alabama Arts’ Alliance grant of $20,000 for instruments, professional development, and classroom materials. By the end of the school year, we had over seventy students signed up for the beginning mariachi classes and twenty-five signed up for advanced mariachi classes. We knew the program was going to grow, but it grew faster than any of us had anticipated. We were able to secure a class that meets year round for our advanced students and we were able to have Mr. Wilemon co-teach the advanced class without giving up his prep period. We added two sections of beginner classes and we were able to have them at the end of the school day so our newcomer students would have the ability to join. Our newcomer students are students in our system who have been in the country for less than a year and attend
English immersion classes at a different campus for part of the school day. Through our Arts’ Alliance grant, we purchased enough instruments to outfit the beginner classes, and we purchased sombreros, hair bands, and bow ties for the advanced class to perform. The grant also provided the opportunity for Michael Acevedo, mariachi professor at University of Texas at San Antonio, to spend several days bringing our mariachi music and technique to a higher level. The students were able to see that mariachi is a musical genre that is expanding across the county and something they could study at the collegiate level. We also had the opportunity to invite directors from other schools wanting to start their own programs to observe and participate with us. We now have over 100 students involved in mariachi classes, most of which were not involved in a music program at the school. Our goal is to expand our program to three sections: advanced, intermediate, and beginner in addition to adding a course in our feeder pattern.
So why teach mariachi at your school? The same reason you teach jazz band, steel drums, drum circle, marching band, concert band, and chamber music: exposure and knowledge. The students in our program will leave with new and different perspectives about music and culture. Isn’t that a goal in our programs? As music educators we tell our students to learn all music and experience as much as possible. However, sometimes their exposure can be limited by our comfort and ego. This can no longer be the case in the state of Alabama. We must do what we were taught, to meet the students where they are. We have a diverse population and people from all backgrounds, and if we are not using those backgrounds to expose our students to new music then we are not fulfilling our duty.
There are two main concerns that people have over starting a mariachi class or group. The first is the lack of funds and personnel to support a new endeavor. Second, that mariachi will take students away from the current
programs at the school. The first is the same issue we have in every class, and is a valid concern for many music teachers. The answer is simple, but not easy. We need more students in our music programs and more exposure to make music vital to our communities. Like any new program, you will have to do the extra work until it builds to the size where more instructors can be allocated. However, the work will be justified by the excitement and growth from the musicians in your program and community.
The other concern is that mariachi classes will take away from the band and other music programs. There is a narrative that growth of one program has to negatively impact another, but this is not true. We’ve had mariachi at Pinson for almost three years now and we have gained several students in the band program from mariachi, and not lost a single student from the band program. More importantly, we have gained eighty or so students into a music program that had never previously taken a music class. This was a main part of the original goal, which was to bring new students to the music program. What is required of us is to take off our “director” hats and do what is right for the music education of our students. In my opinion, we have to remember that our number one job is music education. Without music education, our programs will ultimately be unsustainable. The more students we have involved in our music classes now, will mean more parents in the
future with musical backgrounds. This cultural shift in our Hispanic communities, as well as all communities, will give us the ability to build programs in which the community is fully invested.
I do believe that the true hesitation of most teachers is fear of what we don’t know. “I am not a string player.” “I do not speak Spanish.” “I have never played mariachi music before.” ‘I don’t know anything about Spanish or Mexican culture or music.” “I am afraid of embarrassing myself or offending my Hispanic students.” I want you to remember the face you saw at the beginning of this article. There is nothing about me that would make anyone think that I teach mariachi classes. However, with support from the school and district I started the program in Pinson, Alabama. A city that wasn’t really asking for mariachi. But
now, we have become a fixture in the community. We play at most parent nights, we perform at other schools in the district, and we try to perform in our community every chance we get.
On the first day of beginner mariachi, I tell the students all of my shortcomings as a mariachi teacher. Especially my lack of knowledge in speaking the language. I tell them that I will make lots of mistakes, and I will mispronounce many words. I am getting better, but I am far from proficient. Then I tell them that they will also make many mistakes. They will play wrong notes, they will read rhythms incorrectly, they will sing wrong notes, and even after a lot of work the violin can always make you look and sound inexperienced! However, if I am willing to try to speak and sing in Spanish in front of native speakers, then they can make mistakes in this class too. In my experience, students respect the effort to learn and the humility to admit mistakes.
One of the things many programs use is the idea of growth zones versus comfort zones. Simply, we can either be stagnant in a comfort zone, or we can leave our comfort zone and find growth. In today’s climate it is difficult sometimes to embrace different cultures without being seen as fake, appropriating, or being self-serving. In the few years we’ve had mariachi at our school, we have not had one single complaint. Not about the program, not about the content, and not about me teaching it. The community sees us trying to celebrate what makes us different and learning to understand each other more. The mariachi class is not a place only for Hispanic students anymore. Students from all backgrounds, races, and genders are in the class. They are learning instruments with Mexican heritage, they are singing in Spanish, and they are forming knowledge and appreciation for other people and their cultures. We now end every performance with the song, “De Colores.” A translation of the chorus reads,
“All in colors, and so must all love be of every bright color to make my heart sing.” The song refers to the color of nature, but the meaning is far deeper for students in our mariachi program. We are all colors, and within those colors and cultures we bring beauty and music into the world.
When Ramon Rivera came to Pinson to promote our program, the local news came out to cover the event. It was great exposure for the program and the school. When the reporter asked him about how he thought the community, city, or state would respond to mariachi, it could have been a loaded question with a loaded answer. Instead, Ramon simply stated, “Mariachi music is family music.” He went on to explain that this music, like most folk music, would have been sung in the house, at celebrations, at family gatherings. Is that any different from the way anyone experiences music outside of the academic world? Just because it’s not your families’ music doesn’t mean it doesn’t bring others together. Let’s work now as musicians and educators to bring more families together and more communities into our programs as we promote, provide, and perform the new wave of music education in Alabama: Mariachi. Viva Mariachi!
Keith Brandenburg, a native of Tallahassee, Florida, began his teaching career in 2007 at Brighton K-8 in Brighton, Alabama. The Brighton middle school band was formed in 2007 and after three years performed at Music Performance Assessment for the first time in the school’s history. After teaching elementary music, middle school band, and middle school choir, Mr. Brandenburg moved to Rudd Middle School in Pinson, Alabama, to be the band director in 2014. At Rudd middle school, the band recorded numerous superior ratings at contests and assessments. In 2018, Keith accepted the director position at Pinson Valley High School in Pinson. As director, Mr. Brandenburg conducts the Symphonic Band, marching, and Mariachi Band at Pinson Valley. Mr. Brandenburg has led the ensembles of Pinson Valley to numerous Superiors and Best in Class Awards at marching competitions in Pell City, Oneonta, Talladega, Lake Martin, Trussville, Hoover, and Piedmont. The Symphonic and Concert bands have also received Superior ratings at all Music Performance Assessments. Mr. Brandenburg received a graduate degree in Music Education with a concentration in vocal music at Samford University in 2009 and his undergraduate degree in Music Education with a concentration in instrumental music from Samford University in 2006. Keith currently resides in Homewood with his wife Abigail and children, Charlie (13) and Evelyn (9).
Developing the Optimum Clarinet Tongue Position
Tracy Heavner
Introduction
A clarinetist’s tongue position is perhaps one of the most important components of successful playing since it has a direct effect on tone, intonation, response and the ability to articulate quickly. In addition, the ideal clarinet tone, which is dark, in tune, focused and strived for by all clarinetists, can only be achieved if the tongue is in the correct position.
Many clarinetists have not received proper instruction on how to position the tongue for optimum performance and as a result, these clarinetists are not able to achieve the level of performance they desire. The optimum clarinet tongue position is one that is comfortable, produces a great tone, provides a quick response
in all registers and places the tip of the tongue close to the reed for quick and clean articulation. It is very important for clarinetists to find this position since without it, all areas of clarinet performance will suffer.
The Optimum Tongue Position
The optimum clarinet tongue position requires the clarinetist to place the tongue extremely high in the oral cavity where the back of the tongue is very close to roof of the mouth. In this position, the sides of the tongue actually touch the inner sides of the upper teeth as if saying the word, he. By using a high tongue position, the oral cavity is made smaller keeping the air stream narrow, focused, highly
pressurized and moving quickly. When this is performed correctly, the air stream will also be a cool air flow rather than warm, as when a person blows warm, moist air on their glasses, trying to fog them up in order to clean them. In addition to assisting in good tone production, response and articulation, this high tongue position will also assist the clarinetist in playing notes in the altissimo register. Although the tongue position may change slightly when playing the clarinet in different registers, the overall high position should basically stay the same throughout the entire range of the instrument. By using this high tongue position, clarinetists will discover that their tone is more focused, response is better, articulation is quicker and playing the instrument is much easier.
Since clarinetists cannot see the position of their tongue inside the oral cavity, this concept can be a challenge to teach since it is difficult to know if the tongue is positioned correctly. However, there is a playing exercise that will allow clarinetists to know if the tongue is in the correct position and if it is not, allow them to learn to position it correctly. The Swab Exercise is an overtone exercise that when performed correctly, will position the tongue and air stream in the optimum position for the best clarinet tone and response.
The Swab Exercise
The Swab Exercise gets its name because the clarinet cleaning swab is used in the exercise to correctly position the tongue. The steps to the exercise are listed below.
1. Play the note “B” on the third line of the staff using the traditional fingering.
2. Without unfolding the swab, push it into the clarinet bell in order to block the bell’s opening.
3. Try to play the note “B” on the third line of the staff once again. If the swab is placed in the bell correctly, this note will not sound.
4. With the swab still placed in the clarinet bell and the tongue placed in a high position in the oral cavity, finger the third line note “B” and blow a fast, cool, focused, pressurized stream of air into the clarinet. When done correctly, an overtone altissimo note will sound.
5. If an overtone altissimo note does not sound, place
the tongue higher in the oral cavity and try again. Keep attempting this step until an overtone altissimo note sounds.
6. When an overtone altissimo note sounds, adjust the tongue position and air stream direction while the note is still sounding in order to make it louder and more focused.
7. Try to play additional overtone altissimo notes by adjusting the height of the tongue and the air stream direction. There are four possible overtone notes that can be sounded through this exercise: Concert A, C#, E and G.
8. Remove the swab from the clarinet bell and finger the third line note “B” once again. Play the third line note “B” while pretending the swab is still in the bell as if attempting to sound the overtone altissimo notes. This thought process should keep the tongue and air stream direction in the same position as when actually playing the overtone altissimo notes.
9. The tone and resonance of the third line “B” note will be remarkably improved.
10. Play other notes or scales retaining the same high tongue position and air stream direction. The tone and response will be remarkably better for all notes.
Summary
Developing the optimum clarinet tongue position is a vital component to successful playing. It is important that all clarinetists understand the correct placement of the tongue and learn to find this position when performing. By correctly practicing the Swab Exercise, clarinetists will learn to place the tongue in the optimum position improving tone, intonation, response and articulation, allowing them to reach their full performance potential.
Dr. Tracy Heavner is an internationally renowned music educator and distinguished performance artist having performed in more than sixteen countries on six continents as an artist for Cannonball, D’Addario and Jody Jazz Music Corporations. Dr. Heavner is a professor of saxophone, music education and jazz studies at the University of South Alabama where he has taught for the past thirty years. He has published over 140 pedagogy articles in music journals and also authored two books. His most recent book is entitled Saxophone Secrets: 60 Performance Strategies for the Advanced Saxophonist published by the Rowan & Littlefield Publishing Group.
Daniel Harris Havely, band director, music arranger, and studio musician, died on Wednesday, February 12, 2025. Dan, the middle child of three siblings, was born in 1944 to parents Ernest and Jenny Havely in Morristown, TN. His father was a salesman and small business owner, and his mother taught piano in the basement of their home. A musical prodigy, Dan discovered the cornet at age five and soloed “A Trumpeter’s Lullaby” while still in elementary school.
In the 1960s, Dan attended the University of North Alabama, then known as Florence State, leading the marching band as drum major, performing on stage with the Mark V, a rock-n-roll band touring college campuses and officers’ clubs, and playing recording sessions at the legendary Fame Studios during the height of the Muscle Shoals sound era. While he enjoyed performing, teaching was his vocation, and through teaching he would influence thousands of students’ lives and shape the artistic identity of a community.
Mr. Havely taught marching, concert, and jazz bands at Athens High School in Athens, AL, from 1966-2000. In the classroom he was fanatical about fundamentals; it was not uncommon for him to spend over half the class period tuning and playing scales to achieve his signature sound. On the field he sought perfection, wielding a megaphone and clipboard at Camp Alpine during the summer and by year’s end gaining national recognition at marching competitions, including the Fiesta, Sugar, and Orange Bowls. Known for his discipline and tenacity, he nonetheless attracted a loyal following of students, his band at one
In Memoriam
point two hundred members strong out of a school enrollment of only eight hundred students. For his dedication and influence, he earned Alabama Teacher of the Year honors and was inducted into the Alabama Band Directors Hall of Fame.
After retirement Dan remained on the podium, founding the Athens State University Community Band in 2003 and leading that ensemble for thirteen years. He also cherished teaching his grandchildren, both of whom are AllState musicians. In 2023, Mr. Havely gave his last performance, guest conducting a former student’s band at the renowned Midwest Band Clinic in Chicago. The music selection that day was another former student’s arrangement of “Down the Field,” a fight song synonymous with the legendary band leader.
Mr. Havely is survived by his daughter Sally Havely Girard (Robert “Jody”); son Sam Havely (Amanda); sister Bess Ann Havely; and grandchildren Elizabeth and Lydia Girard. He is preceded in death by his parents and sister Judy Cafiero.
From Lloyd Jones...
I first saw Mr. Havely’s Athens High School Band in 1982 at a marching contest in Mississippi. They blew me away! Everything about it was great - head and shoulders above the rest! In the fall of 1999 I convinced the majorette captain at UNA to ride with me to see the Athens Band - told her they had a great majorette line to get her interested in going. Been married to her for 25 years.
I was honored to have Mr. Havely over to guest conduct the UNA Band on a couple of occasions. I had the pleasure of playing some gigs with him through the years. He was a musician’s musician. He could do it all! He mentored a lot of music educators just by being himself and turning out consistently outstanding bands.
I’m proud to have known Mr. Dan Havely! -Lloyd Jones
Mr. Richard Wayne Holland, age 75, passed away peacefully at his residence in Valley, Alabama, on February 9, 2025. He was born on July 2, 1949, to the late Thomas Jackson and Cleone Ellis Holland. Richard was also preceded in death by his beloved nephew, Scott Holland.
He is survived by his devoted wife, Laura Holland; son, David Holland (Melanie), and their daughter, Lorae, of Montgomery, TX; daughter, Brandice Howell (Brad), and their sons, Barrett and Jenson, of Goldsboro, NC; brothers, William Holland (Lib) and their children, Chris, Leigh, and Brian; and Thomas Holland (Pat) and their children, Kevin and Hope. Richard is also survived by many cherished friends and extended family members, as well as his loyal pet, Baxter, who was always by his side.
A dedicated educator for over 40 years, Mr. Holland made a lasting impact as a band director, positively shaping the lives of countless students. He spent much of his career with Opelika City Schools, where he became known for his passion, commitment, and love of music. Richard’s memory will live on in the hearts of all who knew him.
From Mike Stough...
I , like many others, are saddened to hear of the passing of Rick Holland. Rick was a fine teacher at Opelika Middle School, where he taught for over 20 years. Many students came through his program and they learned the fundamentals of playing a musical instrument. They also learned about discipline and other life skills that would benefit them greatly as they got older! - Mike Stough
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As the school year comes to a close, I would like to share a few newer pieces that I’ve enjoyed recently. I hope you enjoy listening to them and perhaps even getting a chance to perform them!
Morning Star (2025) is a grade 2 work by Katie O’Hara LaBrie (www. katieoharalabrie.com).
LaBrie is a composer, conductor, and cellist from Northern Virginia. She holds degrees from St. Olaf College
Band Music Reviews
and George Mason University.
From the composer: “In our fast paced lives it’s easy to get caught up in the rush, constantly moving from one task to the next. Recently, I’ve been reminding myself of the importance of pausing, taking a deep breath, and truly embracing the beauty that surrounds us each day. It’s in these moments of mindfulness and presence that Morning Star was born: a musical reflection of the serenity and clarity that comes when we allow ourselves to simply be.”
Composed in Bb Major, Morning Star features gentle, flowing melodies, expressive shaping, and repeated rhythmic figures that mirror the natural patterns of breathing. Together these elements form a soothing, calming atmosphere that creates a sense of tranquility.
Instrumental ranges remain well within grade 2 expectations, with minimal use of accidentals and comfortable ranges across the ensemble. The percussion parts can be performed with 5–6 players. Morning Star would make a beautiful addition to a festival or spring concert program for developing bands.
A recording and score of Morning Star can be found at:
www.youtube.com/ watch?v=DgsMKx3xpnI
Rising From the Earth (2025) is a grade 3 piece by Adrian B. Sims (www. adrianbsims.com). Sims is a graduate of the University of Maryland with degrees in Music Education and Composition. Rising From the Earth was premiered at the Midwest Clinic
Dr. Jeremy Stovall
by the Wiley Middle School (TX) Wind Ensemble.
From the composer: “Imagine witnessing the formation of Earth’s largest superstructures. This music is inspired by massive rocks rising from the ground to create the tallest mountains on Earth and the breathtaking terrain that exists today.”
Written in F Major (d minor) throughout, Rising From the Earth features shifting meters and some use of accidentals. It contains comfortable ranges for all instruments and involved percussion writing, calling for at least seven percussionist. This work is an excellent option for festival or spring performance.
A recording and score of Rising From the Earth can be found at:
www.youtube.com/watch?v=yJiIfS5Vl0
of Music in Trumpet Performance from Northwestern University. Chambers is on the faculty at Texas Lutheran University, where she teaches composition.
Translated as “joy”, Alegría is an energetic new work by Chambers. The piece opens with a bold fanfare, transitions into a vibrant, rhythmically driven section with shifting meters, and features a lyrical 3/4 section before returning to fast-paced material. Earlier themes are recapped in the final section, building to an exhilarating conclusion.
multiple degrees in music education, conducting, and composition from the University of South Florida.
From the composer: “I was inspired to write this piece after I learned of the power and mystery of a black hole’s event horizon, a point that marks the boundary between a black hole and the rest of the universe. Nothing inside the event horizon can escape – the gravity being so strong that not even light can make its way out.”
Alegría (2024) is a grade 3.5 work by Carol Brittin Chambers (www. aspenwoodmusic.com). Chambers is a composer, arranger, and owner of Aspenwood Music. She received a Bachelor of Music Education from Texas Tech University and a Master
Percussion plays a central role throughout, with the tambourine highlighted as a symbol of joy. In the final moments, players across the ensemble (including wind players) are encouraged to join in on the tambourine part! This piece is a joyful celebration for both the performers and the audience. Alegría would be a dynamic closer for a spring concert or contest performance.
A recording and score of Alegría can be found at:
www.youtube.com/watch?v=3GrwF80tcc&t=250s
Event Horizon opens with an ominous brass fanfare accompanied by rapid woodwind flourishes. A lyrical middle section offers contrast, containing beautiful melodies and countermelodies. A return to the initial themes leads to a dramatic and intense closing section. The work showcases extensive triplet-based figures, driving ostinatos, and percussion scoring requiring at least nine players. This piece would be a great challenge for the advanced ensemble and an impressive way to open or close a program.
A recording and score of Event Horizon can be found at:
www.youtube.com/watch?v=Ht2iodv_ F6Y
Best of luck to everyone as we all finish out the school year. I hope you all have a safe and restful summer. Please reach out if I can ever be of assistance!
Dr. Jeremy Stovall
Assistant Director of Bands Associate Professor Jacksonville State University jstovall@jsu.edu
Event Horizon (2024) is a grade 5 piece by John Dupuis. Dupuis is the Music Supervisor for Volusia County Schools in Florida and holds
Choral Music Reviews
This is a reprint of the October/November Ala Breve Choral Reviews
A New Psalm (Soprano solo, SSA Chorus, and piano, or low brass quintet, timpani, percussion, and piano; also available for TTB)
by Ken Berg
Psalm 98 (Hebrew and English) Galaxy Music Corporation / ECS Publishing
Catalog No. 1.3485 $3.15
Duration: Approximately 3:55
We are very proud to claim Ken Berg as one of Alabama’s finest musical treasures. A prolific composer and outstanding choral pedagogue, he is a fountain of wisdom, knowledge, skill, and unmistakable talent, all of which are evident in his setting of Psalm 98 (A New Psalm). Written for advanced choirs, it is not lacking in invigorating challenges with rhythm, meter, notes, text, and accompaniment. The accompaniment drives the composition with such energy, and it requires an experienced pianist who is not afraid of mixed meter. Without a doubt, the composition will have such great appeal to singers and listeners, and it is well worth the preparation. As implied previously, Ken Berg has innumerable compositions and arrangements that reflect his depth of musicality and diverse experiences in working with choral groups in various settings. A New Psalm is truly a fine composition that is not to be overlooked among his many other fine works.
The Music of Stillness (SATB div. and piano)
by Elaine Hagenberg
Text by Sara Teasdale (1884-1933)
Oxford University Press X679 $4.00
Duration: Approximately 5:30
There will be rest, and sure stars shining Over the roof-tops crowned with snow,
A reign of rest, serene forgetting, The music of stillness holy and low.
I will make this world of my devising Out of a dream in my lonely mind. I shall find the crystal of peace, – above me Stars I shall find.
Among the many choral settings of Sara Teasdale’s poem There Will Be Rest, Elaine Hagenberg manages to create a relatively accessible composition set to her signature piano accompaniment style that beautifully complements her well-voiced harmonies. Hagenberg captures the intensity of the poetry through her wide range of dynamics and tempo fluctuations—both of which appear to be the most critical musical elements in this composition. At the very least, dynamic range and tempo changes are wonderful elements for choirs and directors to strengthen, especially with ensembles that aim to stretch themselves in these two musical elements.
Rise (SATB and piano; also available in SSA) Performance/Accompaniment CD available
Music by Victor C. Johnson
Text by Stephanie Valdez
Heritage Music Press / The Lorenz Corporation 15/3317H $3.20
Duration: Approximately 3:20
It’s the beat of our hearts, It’s the gleam in our eyes. We will never give up, For we were meant to rise! We will push and prevail With our goals to the skies. We will become the change, For we were meant to rise! No obstacle or failed attempt Will turn us from our dreams. We will get back up And prove them wrong;
by William Powell
Only then, only then will they see!
We will conquer our problems, No matter what the size, Because we have the strength, And we were meant to rise. No one can hurt us,
Not with actions nor with lies, We will reach the highest height, We were meant to rise, Yes, we will rise!
Victor C. Johnson is a skillful composer who understands how to write for developing choirs. His music is both accessible and challenging, and every composition or arrangement is filled with focused attention on certain musical concepts. Syncopation appears to be the primary musical concept in Rise. The compelling text set by Stephanie Valdez lends itself to emphasis that might only be achieved through the syncopation that Johnson sets. The slow and stately opening section allows the choir to carefully secure the syncopated rhythm when it is set in a dotted eighth note. The main section is set in a faster tempo where the syncopation then occurs with a dotted quarter note. Ultimately, the singers should better understand the principles of syncopation between the two tempo and rhythmic settings.
William Powell Director of Choral Activities Auburn University
General Music Reviews
Help Your Shelf Part 4
Wby Jason Jackson
e finish our series on the top 5 mostrecommended resources our AMEA Elementary members think everyone needs on their bookshelves! Check out Parts 1-3 in the earlier editions of the Ala Brev from this school year.
First, We Sing! Kodály-Inspired Teaching for the Music Classroom
If you have been searching for an accessible and authoritative entry point into the Kodály approach, check out First, We Sing!
This book is divided into five chapters and nearly 40 pages dedicated to appendices and indices.
The first chapter gives an overview of the Kodály approach, starting with a brief introduction to Zoltan Kodály, a summary of the goals and philosophy of Kodály-inspired teaching, and common melodic and rhythmic tools used in this method.
Chapter two focuses on teaching musical literacy and the preparepresent-practice (and assessment) process. There is also a very helpful list of musical skills, broken down by type, and sequenced in order of development.
Chapter three discusses how to choose excellent repertoire to teach and what is considered “excellent”. A sample song analysis is included as well as recommended steps to take in teaching a song.
The complex layers involved in planning lessons are covered in the fourth chapter, from long range plans (curriculum guides), concept plans (teaching strategies), midrange plans (yearly plans), and short-range plans (daily lesson plans). This section ends with an excellent breakdown of the many types of transitions within a lesson and suggestions for how and when to use each type.
The final chapter contains a few philosophical questions to guide the teacher toward linking all the available materials together. The chapter ends with a “Steps in Planning” checklist to help teachers create yearly, grading period, and weekly lesson plans.
There is a gold mine to be found in the appendices and indices. I often flip to these pages to quickly see what I’ve left out at various points of the school year, or where a particular concept should fall in sequence. This section includes an entire K-5 scope and sequence with grade level objectives for singing, playing, moving, listening, audiating, memorizing, reading, writing, and creating; an alphabetized list of suggested authentic folk songs; a lesson planning template; song analysis worksheet; and recommended readings and listenings.
In addition to this title, there are several First, We Sing! companion materials: First, We Sing! Teaching Strategies, Activity Cards, Digital Resource Supplements, Songbook One, Two, and Three, and 100 Little Songs and Rhymes. You can find a few sample pages from each of
these resources on the publisher’s website at the link above.
P.S. – Come to the Sweet Home Alabama Kodály Educators workshop in Birmingham and learn from Susan Brumfield, herself! Edgewood Elementary School, Saturday, May 3rd 9am3pm. Contact alabamakodaly@ gmail.com or check the SHAKE or AMEA Elementary Facebook pages for more info.
*Price from publisher’s website, April 2025.
Jason Jackson teaches K-6 general music at Daphne East Elementary School and is President-Elect of the Elementary Division.
What Do I Need to Do
To Receive a Music or Jazz Scholarship?
by The Jazz Collective
Greetings from the Alabama Jazz Collective! This edition will address what we are listening and looking for in auditions for admission into college music programs, scholarship auditions, and placement auditions.
Dr. Andy Nevala
Director of Jazz Studies
Jacksonville State University
I often get asked: “What do I need to do to receive a music or jazz scholarship”? The short answer is “well, you have to be good”. The long answer is much more complicated. Dr. Ken Bodiford, Director of Bands
and the Marching Southerners at JSU, had this to say: “In auditions for college music programs, scholarships, and ensemble placement, I listen for a mature, characteristic tone quality, a clear understanding of phrasing and musical expression, and accurate rhythmic reading. These elements demonstrate a student’s technical foundation, musical sensitivity, and readiness to succeed in a collegiate ensemble setting.” So, how does that translate to a Jazz Scholarship audition?
At Jax State, we get students from all walks of life, some from great high school programs with strong jazz ensembles, and others who never played in a Jazz Band in High
School. The Jazz Faculty need to 1) hear where you are, and 2) recognize your potential to contribute to the program. We do this by hearing you play the melody to a Jazz Standard, and then soloing over the changes. This lets us know if you have listened to Jazz recordings and are able to relate what you hear on the recording to what comes out of your instrument. Reading it straight out of a Real Book for the first time, at the audition, probably isn’t the best way to go about convincing me you are scholarship worthy, as the Real Books serve as a “guide”. Then we listen to you solo over the changes. Are you hitting the right notes when the chord changes? Can you land on the 3rd of
the chord at every chord change? Are you keeping the form?
Then we listen to your prepared piece. This lets us hear how good you can be once you have the music to work on. It should be something that demonstrates your range on your instrument, should have a few articulations, and a few different dynamics. This is typically something they are currently playing with their high school jazz band or in private lessons.
The last thing we have you do is sight-read. This skill is required for the top band at JSU, and for most of the ensembles you will play in professionally. For example, in the past year in Jazz Ensemble I, we played a Latin Big Band concert with a group from Atlanta the first month of school, then played a completely different set for our fall big band concert 5 weeks later. We started the spring semester off with two weeks to prepare for a 2 hour big band fundraising gig, played a different set for our spring concert 3 weeks later, then had to learn another set for our Jazz Festival with Grammy AwardWinning vocalist Carmen Bradford, who sent us her charts she uses with the Count Basie Orchestra. If you aren’t a strong sight-reader, this will be hard for you.
Music and Jazz Scholarships at JSU are very competitive. Even the small awards have to be discussed amongst the jazz faculty and determined based on needs of the program for that year. It’s a heart wrenching process to listen to some really good auditions, and then not be able to offer anything. My best advice is to be prepared. Scholarship requirements are posted on the websites for every school you are trying to audition for. At JSU, that link is : https://www.jsu.edu/music/ scholarships/index.html
If you have any questions, communicate with us before your audition by sending an email YOURSELF. Use complete sentences. How you present yourself is also part of the audition process - dress appropriately! You never get a second chance to make a first impression.
Dr. Dave Camwell
Troy University
First impressions are important in both personal and musical aspects. A scholarship is essentially a financial reward that comes with it the expectations of both participation in ensembles, and also preparation in lessons and almost all other academic work. As there is inevitably a finite amount of scholarship money to award, it is very important to present the very best version of yourself as a musician and person to those who are deciding the dollar amount.
If you are arriving at a physical location (university, college, etc) for your scholarship audition, I would suggest that you arrive early and find a place to warm up. It does not make a good impression to be putting your horn together in the professor’s office; you will also benefit by being warmed up, choosing your best reed etc., and generally, being ready to present your musicianship to the best of your abilities. Auditions can often be nervewracking situations, so do everything you can ahead of time to give yourself the best chance to succeed.
If you are recording a video audition, make sure you are recording in a pleasant and well-lit space. Make sure you are well framed, and that the audio sounds good. Modern cell phones can often do a good job in recording audio and video if used correctly. Don’t be too close to the camera to avoid clipping and a harsh sound. Also, dress nicely and speak clearly and slowly to the camera to introduce yourself and the music you will perform.
It is also important to know what the expectations of the scholarship are in terms of what music you are expected to play. Some auditions will be very specific, listing tunes, patterns, scales and more; others are more general and leave you a wide berth in what to choose to perform. If
this is the situation, it is a good idea to communicate with the professor ahead of time to let them know what you are preparing. If there is an issue, you will very likely be given good advice on what to change. After all, we very much want you to succeed; a strong audition means we can look forward to a strong player in our ensembles/studio which helps everyone. A quick word of caution though when communicating with a professor: do not start your email casually, colloquially or flippantly. Emails that begin with “Hey” or “Yo” or even without any proper etiquette in terms of written communication do not show well.
I think most of my colleagues would agree that we can typically tell someone’s musical level within the first 60 seconds. We are able to assess technique, tone, intonation, and other aspects of ability very quickly. With that in mind, always start with your strongest piece, and approach the audition, as well as the music, with humility and grace. We do not expect perfection, but we do hope to ascertain musical potential as well as a respectful and pleasant person behind the instrument. We invest a lot of time and energy in our students, and want to reward those that are prepared, talented, and easy to work with for the next number of years that you are with us. The scholarship audition is really the beginning of the relationship between student, teacher and institution, and we are absolutely hoping for you to succeed in your path, beginning at this moment.
Chris Kozak Director of Jazz Studies
The University of Alabama
When asked about what I expect from a student when they audition to our program, or ensembles, it echoes much of what my colleagues have already presented in this article.
A professional presentation speaks volumes (first impressions are hard
to shake) and your confidence can speak volumes. It should go without saying (but I am anyway) that your instrument should be in the best playable condition as possible before the audition. When I say presentation, think of the old phrase, “dress for the job you want.” I’m not saying Tails and a Tux, but dress like you are going to play for people you want to impress. It can set an example and almost tells us whether this really mattered to you. Find a nice shirt, tuck it in, wear closed toe shoes, appropriate leg wear. Unless you can REALLY play, wearing a Megadeth t-shirt to an audition is probably going to prompt some strange questions from us. Smile when you enter the room and greet everyone whether they reciprocate or not. If you have a CV, have copies to share with them. Bring copies of your music that you’ll be playing, and at least enough for 4 people if possible. Be attentive and willing to follow whatever instructions they give. Keep in mind, if they are curt or short with you, it isn’t personal and may be due to a time constraint or lack of a “Jack’sã” biscuit that morning. Many times, we can tell if you have prepared in the first few choruses or bars of whatever you’re playing and may not need to hear more. Try to be as relaxed as you can, which I know can be a challenge given the scenario, but you can do it.
When it comes to your actual playing, I look for the following: Tone, Time, Language Comprehension, and Awareness. Being “aware” of the form/changes/structure and what any accompanist might be sending you in comping while playing a tune helps me to see how you handle yourself “in the moment,” even if you have a prerecorded play-along. Language comprehension in improv or articulations, can often clue me in as to whether the student has been listening to this music, had prior instruction in Jazz, had a Jazz Band or Concert Band at their previous institution. Playing with excellent time and having a beautiful or developing tone can give us more information that can show us what your technical baseline ability is and where you can
improve. All those points carry a tremendous weight and if the student excels in most of those areas, they are on the path to a successful audition. When it comes to your ability, I’m not looking for a specific type or kind of student. I like the “diamond-inthe-rough” that has room to grow however, a seasoned student that can display their experience by being prepared and playing to their best ability also gets my attention. I’m assessing to see if you meet a standard of playing. Do that, and you’ll likely get the acceptance or seat! Due to the competitive nature of auditions, scholarship is offered based on merit and need. Play your best, show us you really want to be here, and we’ll do our part to award you what we can.
Know the material you need to have prepared. At the University of Alabama, For the BM – Performance Jazz Studies degree and Jazz Music Minor, we require the following for entrance into the program (which includes consideration for scholarships.) Specifics can be found at www.jazz.music.ua.edu/ undergraduate-jazz-studies-auditionrequirements/:
On your primary instrument prepare - 2 classical pieces, 2 Jazz pieces, Basic Jazz Improvisation, Sight Reading, Major and Minor Scales (all keys), Pitch Matching (Sing/Play)
Audition information for our Ensembles/Combos is a similar format but focuses on an excerpt and playing a tune. That info can be found here and is updated a month or so before auditions:
music for every audition especially if they are asking for something specific. If you are absolutely unavailable to be there in person to audition, you be able to send a video in. You would more than likely need approval by the director or department, so don’t expect that is always an option. If that is an option to audition for admission that is granted, all the above still applies to be displayed in the video with the addition of a video conference call for the interview as well as sight reading.
In the audition for the degree paths, I like to reserve some time for an interview or questions for you and if you have any for us. This is a great time to share your experience, your motivations, and long-term goals. Usually at this point we can all relax a little and see how you handle yourself in social situations. Be yourself, tell us why this is a passion for you and what you plan on doing with the degree. Believe it or not, that is a very big part of being a musician!
Check that information against any institution you may be interested in. You may look for similarities between institutions in the audition requirements and plan accordingly when preparing your materials. You may not be able to choose all the same
Before you apply to an institution, I highly recommend you contact the Director of whatever program you intend to audition to. We are fortunate to have several very strong Jazz programs in the state of Alabama, each with unique offerings. I personally know Dr. Nevala, Dr. Camwell, and Dr. Roberts and they are all kind, outgoing directors and we all go out of our way to determine if our institution would be a good fit for you. Contact us and let us know you are interested! I try to respond to all auditioning students as soon as possible, as I know how busy and convoluted these processes can get, and my timely response will get you answers you need. It sets the stage for a line of communication that can clear any confusion about audition requirements, details about the program, or any other questions you have. Also, it’s great to put your name in our heads!
...this process is about more than playing well, it’s about finding a place where you can thrive. Be prepared, be professional, and be yourself. That’s what we’re listening for.
Dr. Steve Roberts
Dr. Steve Roberts University
of Alabama at Birmingham
As echoed by my colleagues, the audition process for college music programs, scholarships, and ensemble placement is multifaceted. Programs are not only assessing immediate ability, but also long-term potential, particularly students who can thrive in graduate programs and contribute meaningfully to the professional music world. While short-term needs, such as filling chairs in a big band or combo, or assigning teaching assistantships may shape scholarship decisions, the broader goal is to build a dynamic, forward-looking student body.
Scholarship money is often distributed based on a combination of talent, need, and institutional fit. As Dr. Nevala points out, being “good” is just the start. Schools also want to identify students who can contribute artistically and grow within the program. A strategic approach is to audition at multiple institutions. Doing so increases the likelihood of finding a program where your skill set aligns with current needs, and where scholarship resources can be directed accordingly.
styles increases not only your eligibility for financial aid, but also your marketability as a professional musician.
In a jazz-specific audition, I am particularly interested in hearing students perform standard repertoire from memory. Playing confidently through chord changes without relying on the Real Book shows not only preparation but also familiarity with the idiom. Ideally, students should be able to articulate harmonic concepts and demonstrate an understanding of form.
Practice under performance conditions is another invaluable tool. I recommend doing home recording sessions. Know exactly how many choruses you’ll take, and have a play-along track prepared in case no live accompanist is available. When I was a student, I used Garage Band to trim Aebersold play-alongs to create performance-ready backing tracks. This type of rehearsal develops confidence and fluency.
Auditions can be one of the most nerve wracking, anxiety producing endeavors that can determine the very course of your career path. Even the most prepared students can encounter unpredictable circumstances that could potentially up end your best performance and leave you feeling like you weren’t able to “give it your best.” On the other hand, everything may fall into the right place, and you leave the audition feeling like a winner. Regardless, your preparation beforehand is crucial and your honesty with yourself about the time and effort you put in as to how you handle the outcome. If you can say you gave it your best, put in the time on your material, then no matter the outcome, you’ve learned a valuable lesson about what you can achieve.
Regardless of where you audition, strong fundamentals are essential. For wind players, this means developing a centered, resonant tone; demonstrating flexibility across all registers; having a quick, articulate tongue with a variety of articulation styles; and solid, even technique. Scales, executed cleanly over the entire range, are a foundational demonstration of instrumental control. These basic technical competencies are nearly universal expectations across programs and, as Dr. Camwell emphasizes, professors often assess a student’s playing level within the first 60 seconds.
While jazz majors are expected to demonstrate idiomatic improvisation and repertoire knowledge, versatility remains a major asset. Many scholarships include classical requirements, and the ability to perform convincingly in multiple
Lastly, don’t overlook the importance of personal connection. If you’re serious about a program, contact a faculty member well in advance of your audition. I always offer prospective students a free lesson. It gives us both a chance to assess fit, and it allows the student to get a sense of the program’s culture and expectations. As Dr. Kozak notes, Alabama is home to several strong jazz programs, and many of us know one another well. We all share the same goal: to guide and support students in finding the environment that will best help them grow.
At the end of the day, this process is about more than playing well, it’s about finding a place where you can thrive. Be prepared, be professional, and be yourself. That’s what we’re listening for.
AMEA DIVISION EVENTS 2024-2025
ALABAMA VOCAL ASSOCIATION
ELEMENTARY/GENERAL DIVISION
Statewide
ALABAMA BANDMASTERS ASSOCIATION
State Jazz Recordings alaband.org
AMEA Conference
All-State Jazz Festival
All State Solo Festival
All State Festival
Jazz Adjudication
District 1 District Fall Meeting
All State/ District HB Auditions
District Honor Band
MPA #1
MPA #2
Solo and Ensemble #1
BJCC, Birmingham, AL
BJCC, Birmingham, AL
Arthur Outlaw Center, Mobile, AL
Arthur Outlaw Center, Mobile, AL
Sub.deadline: November 15, 2024
January 23-25, 2025
January 23-25, 2025
April 9, 2025
April 10-12, 2025
November 1, 2024
March 1, 2025
March 1, 2025
Thompson High, TBD TBD TBD
Athens High School, Athens, AL
Huntsville High School, Huntsville, AL
Grissom High School, Huntsville, AL
Hartselle High School, Hartselle, AL
James Clemens, Madison, AL
Liberty Middle School
August 19, 2024
January 31- February 1, 2025
February 21-22, 2025
February 25-27, 2025
March 4-6, 2025
April 5, 2025
Solo and Ensemble #2 TBD May 3, 2025
Spring Meeting
District 2 District Fall Meeting
All State Auditions
District Honor Band
MPA
Main Channel Brewing, Albertville, AL
Albertville High School, Albertville, AL
Albertville High School, Albertville, AL
Gadsden City High School, Gadsden, AL
August 18, 2024
January 11, 2025
February 7 - 8, 2025
March 4 - March 7, 2025
Solo and Ensemble Boaz HS, Boaz, AL April 26, 2025
District 3 District Fall Meeting
August 9, 2024
December 20, 2024
December 20, 2024
January 24, 2025
January 31, 2025
March 8, 2025
April 4, 2025
TBD
December 6, 2024
January 31, 2025
January 31, 2025
March 21, 2025
All State Auditions Muscle Shoals High School January 18, 2025 December 20, 2024
District Honor Band Russellville High School
MPA
Solo and Ensemble
University of North Alabama
February 7-8, 2025
March 4-6, 2025
Muscle Shoals Middle School May 3, 2025
January 24, 2025
February 10, 2025
April 11, 2025
District 4 District Fall Meeting TBD September 9, 2024 N/A
All State Auditions
Hoover High School
MPA #2 Hewitt Trussville High School
Solo and Ensemble
District 5 District Fall Meeting
All State/District HB Auditions
Bumpus Middle School
Zoom Meeting
Prattville High School
March 10-13, 2025
May 3, 2025
December 20, 2024
April 11, 2025
August 20, 2024 N/A
February 1, 2025
December 16, 2024
District Honor Band University of Alabama February 21-22, 2025 February 7, 2025
District Spring Meeting University of Alabama February 22, 2025 N/A
MPA University of Alabama
Solo and Ensemble #1
Solo and Ensemble #2
District 6 District Fall Meeting
All State Auditions
District Honor Band
MPA
Solo and Ensemble
Prattville Junior High School
Brookwood Middle School
McKee Middle School
Wetumpka High School
Auburn Jr High School
Beauregard High School
Wetumpka Middle School
March 4-7, 2025
April 17, 2025
April 19, 2025
February 7, 2025
April 3, 2025
April 3, 2025
August 10, 2024 N/A
February 1, 2025
February 14-15, 2025
March 3-6, 2025
April 26, 2025
December 16, 2024
February 5, 2025
February 7, 2025
April 4, 2025
District Spring Meeting Virtual Meeting May 13, 2025 N/A
District 7 District Fall Meeting Barton Academy
MPA
District
Solo and Ensemble
District Spring Meeting
District 8 District Fall Meeting
3, 2025 April 11, 2025
All State Auditions Coppinville Jr. High School January 18, 2025 December 16, 2024
MPA
District Honor Band
District Spring Meeting
February 14, 2025
High School March 7-8, 2025 February 14, 2025
High School March 7, 2025 N/A
Solo and Ensemble #1 W.S. Neal High School May 3, 2025
