October/November 2022 Ala Breve

The University of North Alabama Department of Music offers scholarships to qualified music majors and minors in all instrumental, vocal, and piano programs through auditions.

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

Audition Dates:

November 11, 2022

January 27, 2023

February 25, 2023

March 18, 2023 Contact us una.edu/music ● 256.765.4375 music@una.edu ● @unamusic1

Degrees

Bachelor of Music in Performance

• Instrumental

• Piano

• Vocal

Bachelor of Arts or Science in Music

• Instrumental

• Vocal / Choral

Bachelor of Science in Education

• Choral Music, P-12

• Instrumental Music, P-12 Minor

• Music Certificates

• Musical Theatre

• Percussion Specialist

Dr. Andy Nevala, Chris Kozak, Dr. Dave Camwell, Dr. Stephen Roberts

AMEA Governing Board 2022-2023

President Dr. Rob Lyda

Cary Woods Elementary School

715 Sanders Street Auburn, AL 36830 334-663-0898

president@myamea.org

Immediate Past President

David Raney

Sparkman High School

2616 Jeff Road Harvest, AL 35749 256-837-0331 draney@madison.k12.al.us

President, AOA Joseph Lee PO Box 2532 Huntsville, AL 35804 (615) 397-4490 aoa_president@myamea.org

President, AMEA Collegiate

Mariah Martin (205) 765-1144 mamartin13@crimson.ua.edu

Industry Representative

Joey Harbison

Gadsden Music Company

607 Broad Street PO Box 132 Gadsden, AL 35901 205-910-2622

jmharbison@aol.com

Executive Director

Dr. Russell (Rusty) Logan 2020 Janabrooke Lane Auburn, AL 36830 (334) 663-1702

executive_director@myamea.org

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

President-Elect

Dr. Phil Wilson Ogletree Elementary School

737 Ogletree Road Auburn, AL 36830 (334) 538-9679

president_elect@myamea.org

Recording Secretary

Heather Holmes

Oak Mountain Middle School 5650 Cahaba Valley Road

Birmingham AL 35242 (205) 682-5210

recording_secretary@myamea.org

President, AVA

Hilen Wilson

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

Treasurer/Registrar

Pat Stegall

AMEA Registration PO Box 3385 Muscle Shoals, AL 35661

treasurer_registrar@myamea.org

President, ABA

Joel Henson Pelham High School 2500 Panther Cir. Pelham, AL 35124 (205) 616-7478

jhenson@pelhamcityschools.org

President, ELEM/GEN

Sarah McLendon Hillcrest Elementary 400 E Watts St. Enterprise, AL 36330 (334) 313-2116

smclendon@enterpriseschools.net

AMEA Collegiate Advisor

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

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

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

cjjohnson@alasu.edu

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

ameadows@ALSDE.edu

ADVERTISING & COPY DEADLINES

Fall - August/September (Back to School issue): July 15

Winter - October/November (Conference issue): September 15

Spring - May/June (All-State issue:) January 15

Summer - May/June (Digital Only issue:) April 15

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

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

Son Printing in Dothan, Alabama. Bulk rate postage paid at Dothan, Alabama.

Cover Photo by Karla Hodges, Tuscaloosa Magnet Schools

President’s Column

October is my favorite month. Students and teachers are settling into school year routines. Kindergarteners are crying a little less. Bladders are regulated back to school time. Marching band season is in full swing - some are eagerly anticipating the next competition, and some are counting down how many Friday nights are left in the season. Choirs are beginning to learn repertoire for Winter Concerts. Students are beginning the arduous task of preparing for All-State. College football has all of us choosing sides. In almost every elementary music classroom there is one mindboggling week when you are singing Halloween or fall songs, preparing for a Veterans Day program, and beginning to learn music for Winter performances. Yes, there is so much to love about October.

I’ve often daydreamed about what it would be like to be a regular person in October. What must it feel like to leisurely enjoy an October day? What is it like to attend an event and not have to provide the music for the event? What is it like to clearly focus on enjoying an event instead of thinking of all the things we must do! Oh, what it must be like to enjoy a pumpkin spice latte gazing at fall colors instead of in my car on the way to the next event. October is a beautifully busy month.

I would be willing to bet, whether we admit to it or not, many of us enjoy the busyness of our lives. We secretly enjoy the rush of adrenaline we get from being busy. We enjoy knowing which concession stand has the best boiled peanuts in our football schedule. We

enjoy being asked for our students to perform. We enjoy being a music educator even on the hardest days. We enjoy being busy because we are busy making music with our students. We are so fortunate that in our busyness we help others make something worthwhile and beautiful. Our busy lives facilitate music making.

Thank you for being busy. Thank you for seeing the beauty in every student. Thank you for being a music educator. I will never feel like I can say thank you enough to any of you. You have done everything in your power to make sure music stayed in your students’ lives during the pandemic. You are a teacher, advocate, cheerleader, social worker, parent, friend, and the descriptors go on and on. You spend countless hours pouring into the future of Alabama. You are one of the many things that makes October beautiful.

I want to feature a few of the ways AMEA has been busy since the last issue of the Ala Breve.

NAfME Virtual Hill Week 2022

The week of September 19 - 23, AMEA members participated in NAfME’s virtual Hill Week.

Traditionally, AMEA’s leadership has traveled to Washington, D.C. in June each summer to meet with Alabama’s Members of Congress. However, because of the pandemic, since 2020 we have had to opt for meeting with Congressional and Senate offices via Zoom. This year we had two productive meetings with staff from Rep. Mike Rogers and Sen. Tommy Tuberville’s offices.

We highlighted real-life examples of how Title funds have been used in Alabama to provide music education to our students. Title I money is being used to reduce class sizes and pay music teaching salaries. We emphasized how Title II provides money for quality professional development for all our teachers to help our students and aide with teacher burnout and attrition. In addition, we discussed the arts deserts in Alabama and how Title IV money could be used to place music programs in schools that have traditionally had limited or no access to music education. As we continue to rebuild our programs after the pandemic, it is imperative that we ask for ESSA to be fully funded. We presented a clear and concise message that fully funding Title programs will open the door for music education to be in the lives of every Alabama student.

Thank you to Dr. Sarah Burns of Jacksonville State University, Dr. Becky Halliday of the University of Montevallo, and Dr. Megan Merciers of the University of North Alabama for joining me to advocate for music education.

AMEA Fall 2022 Town Hall

When the pandemic began in March of 2020, AMEA’s leadership sprung to action by hosting weekly Town Halls. I have heard from many people how much they valued the time we came together and talked about the possibilities and future we were facing. Personally, I valued the connection we were able to foster in uncertain times. As our world has returned to prepandemic busyness, it’s not feasible to

Dr. Rob Lyda AMEA President

have weekly Town Hall meetings. However, I feel we could have Town Hall meetings each semester.

I’m pleased to announce that AMEA will host a Town Hall meeting Monday, November 14 at 6:30 pm via Zoom. As we move closer to the event, we will send instructions on how to join via email and social media. I hope continuing the Town Hall meetings will allow us to feel more connected and informed of what is going on in our state.

Presidential Fireside Chat

Over the next few months, I will host fireside chats with different groups within AMEA. The focus of these fireside chats is to listen to your experiences to see how AMEA can best serve our members. The first two fireside chats will focus on our early career music educators. I have thought back on my own early teaching

experiences throughout the pandemic. I have wondered how my career would be different if I dealt with social distancing, COVID, and mitigation techniques in my early years of teaching.

The first Presidential Fireside chat will be Monday, November 7 at 6:30 pm via Zoom. The focus of this Fireside Chat will be on AMEA members with 510 years of teaching experience.

The second Presidential Fireside Chat will be Monday, December 12 at 6:30 pm via Zoom. The focus of this Fireside Chat will be on AMEA members in their first year of teaching to 4 years of teaching experience. AMEA will send information on how to sign up for each Fireside Chat closer to each of the dates. Watch your email and social media for more information.

Conference 2023

Finally, we have been planning for our annual Professional Development

Conference! I look forward to being with all of you in January. The Professional Development Conference is good for my soul, recharges my batteries, and allows me to be with likeminded people. I’m excited that we will have NAfME President-elect Dr. Deb Confredo as our keynote speaker for several sessions and we will have a musical performance by The Dill Pickers from Birmingham. There will be fantastic concerts, inspiring sessions, exhibits, and a chance to catch up with old friends. Make plans to be in Birmingham January 19 – 21, 2022.

I hope you have a wonderful fall full of music-making! Remember to take a little time to enjoy the beauty, savor each day full of color and cool air, and reflect on how incredibly fortunate we are to make music every day with students. Please do not hesitate to contact me if I can help you in any way.

Save the Dates

The Magic and Power of Music

Our classes are continuing their way back to normal after COVID. Unlike the general education teacher, we have a unique tool to help us get there. We have the magic and power of music.

Science has proven that music makes you happier. William James said, “I don’t sing because I’m happy; I’m happy because I sing.” Find those folk songs and pop songs; those patriotic songs and multicultural songs. Seek out the songs that resonate with your students. Sing those songs. Move to those songs. Respond to those songs. Create with those songs. Share those songs with your audiences. Get those children smiling and enjoying their day.

Music lowers stress! Music is healing!

The stress hormone cortisol decreases when we listen to music. Turn the music on, sing along, feel the beat, and feel that stress melt away. Do this not only as a form of self-care but for your students as well. Advocate for your students’ well-being by facilitating engaging musical experiences in your classroom, school, and community.

Use the magic and power of music!

You wield an indispensable weapon in the struggle for normality. Don’t lose heart. Most importantly, don’t forget how important it is to collaborate with fellow music teachers. We can do this!

The 2023 AMEA Professional Development Conference will be January 19-21 at the BJCC in Birmingham. We are so honored and excited to have Sandy Lantz and Gretchen Wahlberg joining us at AMEA this coming January. They are both national board-certified teachers

who have taught elementary music in Florida for over 38 years. For the past 18 years, they have taught OrffSchulwerk Level I teacher training courses sponsored by the Central Florida Orff Chapter, Stetson University, Florida Gulf Coast University, and Florida International University. They have co-taught workshop sessions at National Orff Schulwerk conferences, as well as numerous state music conferences throughout the country. Together they have written the following books: Drum It Up, Creative Bits with Children’s Lit, Strum It Up, and S’More Bits with Children’s Lit. They will be presenting four sessions for us. Joining them is Quaver, John Jacobson, Tiffani Strickland, Kristin Pugliese, and Becky Halliday. This is a conference that you do not want to miss.

We want to be able to stay in touch with you and reach out to those who are not members of AMEA. Please email us at elementaryamea@gmail.com to update your information and share this address with those who you know are not members.

District 1 Chairmen - Lea Hoppe & Viktoria Truesdail

Colbert, Cullman, Franklin, Jackson, Lauderdale, Lawrence, Limestone, Madison, Morgan, and Winston

District 2 Chairman - Karla Hodges & Karen Morgan

Bibb, Fayette, Greene, Lamar, Marion, Pickens,

Shelby, Tuscaloosa, and Walker

District 3 Chairman - Deanna Bell & Kate Donaldson

Jefferson

District 4 Chairman - Kaitlyn

Melton & Laura Clevenger

Blount, Calhoun, Cherokee, Cleburne, DeKalb, Etowah, Marshall, St. Clair

District 5 Chairman - Vacant

Chambers, Clay, Coosa, Elmore, Lee, Macon, Randolph, Russell, Talladega, and Tallapoosa

District 6 Chairman - Christy Clark Autauga, Chilton, Choctaw, Clarke, Dallas, Hale, Lowndes, Marengo, Montgomery, Perry, Sumter, and Wilcox

District 7 Chairman - Jason Jackson & Regina Williams

Baldwin, Escambia, Mobile, Monroe, and Washington

District 8 Chairman - Andrea Marsh Barbour, Bullock, Butler, Coffee, Conecuh, Covington, Crenshaw, Dale, Geneva, Henry, Houston, and Pike

University of Montevallo Department of Music

Events

For Middle & High School Students

Sept. 30, 2022 Festival of Voices

Oct. 15, 2022 All-State Choir Workshop

Nov. 5, 2022 Single Reed Symposium

Feb. 17-18, 2023 Middle School Honor Band

March 3-5, 2023 High School Honor Band

March 21, 2023 Choral Festival Day

Auditions

For Scholarships

Jan. 28, 2023

Feb. 25, 2023

March 4, 2023

Honor Band participants only

March 18, 2023

Assessing the Health & Wellness of Our Profession

In the field of education, everyone is familiar with how much importance is placed on program assessment and evaluation. In many cases, financial resources and even job security can be tied to these critical components. Coming out of the pandemic, and beginning a new school year, it is an excellent time to take stock of our programs and to adjust our teaching goals to better align with the challenges and realities that each of us faces in our schools.

If you have made it this far as a music teacher, we need to pause a moment and say congratulations! We music teachers are a hardy bunch, and even when faced with multiple challenges on multiple fronts, we generally find a way to persevere with a smile on our faces and the best interests of our students at heart. I tell anyone who will listen that it takes a very special person to be a music teacher, and I certainly do mean it. So why do we do it? Because we love it, of course!

Of course, we’re never alone in this profession, and often what I enjoy most about AMEA is the opportunity to connect with others across the state who share my same passion for teaching. The sense of comradery and professional affiliation helps greatly when facing both professional and personal challenges. I know that I have relied heavily on this sense of connection, collegiality, and friendship during the pandemic and that my various conversations, phone calls, emails, and texts with colleagues near and far have been reassuring and grounding at a time when everything

seemed so uncertain and up in the air.

If you are relatively new to the profession, and even if you’re not, being involved in AMEA is a great way to stay mentally and emotionally invested in teaching and to be able to give back to the profession. With the shrinking of academia, I can’t help but think of all the wonderful musicians and teachers who have raised the white flag and moved on to greener pastures in careers outside of music. At the same time, I am incredibly excited about new approaches and new pedagogies that are creating a more welcoming, inclusive space for scholars from a diverse array of backgrounds. It is especially exciting to see the Arts leading the way yet again in creating an all-inclusive space for everyone to express, contribute, learn, teach, and perform.

Any opportunity to take a step back and self-reflect is always an opportunity for personal growth, so in this respect maybe the pandemic and the fallout from the pandemic was a blessing in disguise, especially for my generation. Assessing the health and wellness of our profession begins first with assessing the health and wellness of ourselves, our culture, our society, and the Academy, and continuing to find the small but meaningful ways that each of us can contribute and make a difference. Hopefully, you continue to find those ways in your own pursuits! Best wishes for a wonderful fall semester, and I look forward to connecting with you all at the 2023 AMEA professional development conference in January!

BSC

Birmingham-Southern College

Department of Music

FACULTY

Dr. Jeremy Grall, jgrall@bsc.edu

Associate Professor of Music

Dr. Jeff Kensmoe, jkensmoe@bsc.edu

Associate Professor of Music and Director of Opera

Dr. David Phy, dmphy@bsc.edu

Assistant Professor of Music and Director of Bands

Dr. Lester C. Seigel, lseigel@bsc.edu

Joseph Hugh Thomas Professor of Music

OPPORTUNITIES

Symphonic Band

Athletic Band

Jazz Band Concert Choir

Hilltop Singers

Guitar Ensemble Southern Chorale Opera Workshop

DEGREES OFFERED

Bachelor of Arts (BA) with a major or minor in music

Bachelor of Arts (BA) with Disciplinary Honors in Performance

Bachelor of Musical Arts (BMA)

bsc.edu/music

AVA UPDATES and Upcoming Events

It was wonderful to see so many of you at this year’s Fall Workshop. We greatly appreciate Dr. Melinda Doyle and the University of Montevallo for hosting us again this year. I hope everyone enjoyed the relevant sessions by Dr. Josh Palkki, as well as the breakout sessions given by our directors. It is always nice to learn and spend time together, and I hope you all walked away feeling inspired.

CHANGES FOR 2022-2023

Here are the changes that were shared during our Fall Workshop General Membership Meeting:

All-State Show Choir auditions ● will be held over Zoom this year. Directors will be given the audition cuts the morning of the audition and will be responsible for playing the accompaniment tracks for the audition. The choreography video will be released a week before the audition. Students will receive an individual 5minute time slot for the singing portion of their audition and a 10-minute time slot per 5 students for the choreography portion. All auditions will be recorded and a panel of judges will use the rubric to adjudicate the auditions.

The State Choral Performance ● Assessment form was edited to clarify the Repertoire category. Language regarding repertoire was refined to be more in line with the handbook. The handbook states that repertoire for SCPA must be contrasting and an appropriate genre. The updated adjudication form is available for viewing in our

handbook.

The AVA governing board ● developed a list of qualifications for All-State adjudicators to broaden our list of adjudicators throughout the membership. Qualifications include:

Is in good standing o with the AVA Is an active or retired o member of AVA Has at least 5 years of o successful teaching experience

Has a strong record of o success in their choral programs Willing to be of o service to the organization

Has prepared and had o students participate in Alabama All-State or equivalent event

Ability to work well o with others, follow instructions, and maintain accurate records

Has excellent time o management and ability to adhere to the All-State audition schedule

Has the ability to o establish and maintain a professional and respectful atmosphere in the audition room Will maintain the o integrity and confidentiality of the audition process

ALL-STATE AUDITIONS

All-State auditions are fast approaching. Prior to the auditions, please make sure that your students have all of the required pieces, including “Alabama;” that all of their measures have been numbered; and that their adjudicator forms have been signed by a parent. Also, be certain to follow the instruction pages included in the music packets to ensure that your students are learning the correct notes for your district.

A few reminders about auditions: There may be no substitutions ● on the day of the audition. The students that are registered are the ones who audition. Students who are sick on their ● audition day are welcome to audition at any other site, but virtual or makeup auditions will not be accepted. Students who are accepted into ● the All-State choirs will have to pay their registration fee, whether or not they attend the festival.

AMEA CONFERENCE

The 2023 AMEA Conference will be January 19-21 at the Birmingham Jefferson Convention Complex. Our guest clinician will be Maria Ellis, choral conductor and educator, also known as Girl Conductor. She will present three sessions including Choir 2023: Remixing and Rebuilding a Space for All, That’s a Bop! Fun Ways to Teach Music Literacy, and The Gospel Sound in the Choral Classroom. I am thrilled to have her at our conference and I hope you all will attend her wonderful sessions!

Congratulations to all of the choirs who

Hilen Wilson President, Alabama Vocal Association

were accepted to perform at the conference. We will have performances from many high school, professional, and collegiate choirs from across the state. It is a great honor to be selected to perform during this state-wide conference, so please be sure to come and support these groups and enjoy the music they are going to share.

PROPOSED CHANGES

There were a few changes that were brought up in our general membership meeting at Fall Workshop. If you have any thoughts on the changes below, please email them to me so that the board can review your feedback before we bring it to the membership for a vote. None of the below changes will occur this year.

A proposal was made to “allow a ● student to participate in AVA events as long as they are part of a school, homeschool, or community choral program that meets at least weekly, and where the director is a current member of NAfME.”

Currently, our handbook only includes schools and homeschools, so we would be opening up participation to community choirs. This would only be an option for students who do not have a school choral program.

A proposal was made to include a ● sight-reading component in the All-State audition process. We are open to ideas on how to implement sight-reading into our auditions.

The AVA board has proposed the ● removal of our Honor Choir and our Outstanding Accompanist competition. We welcome feedback on the benefits and/or disadvantages of their removal.

I am looking forward to seeing you all at our upcoming All-State auditions as well as at our conference in January. Until then, if I can be of help in any way or if you have any suggestions or ideas, please contact me at hilen.wilson.ava@gmail.com. See you soon!

Hilen Wilson AVA President

In Memoriam James R. Thompson

From Jerald Bailey...

My description of a master teacher has not changed over the last 38 years from my first experience of being in the shadow of a true Master Teacher. I can name but a few in my career, and James Thompson is the quintessential master teacher. In the early 1980s, Southern Mississippi hosted the All South Band. One concert band of circa 85 top players from seven surrounding states. It was a major wow factor to listen to this band, let alone have a student selected. Sidebar: I knew James had proven through activities in the classroom that he had an advanced ability to play and demonstrate every fingering on every instrument. He had designed a complete course of study for the Benjamin Russell Band Program that in my opinion should be in the Alabama Course of Study. End Sidebar. I did not expect what was to come on the day I was working with a young Tyrone Benson, who had been selected and was working on the chair placement exercise. We were having difficulty with a passage and I suggested that he visit the band office, about 40 steps away, and ask James if there was an alternate fingering that would help things along. Within a few minutes, I heard the most wonderful bassoon sounds and the passage was perfect. I jumped up and walked in to see what he had told Tyrone. Yep, you guessed it, James was playing the passage for him. This was my life with James for my duration at Benjamin Russell High School. He was a trumpet major in college and toured around playing alto saxophone with a big band in the Tallapoosa County area. Experiences like this were common almost every day. I catch myself using quotes from his classroom teachings and am very grateful that I was able to witness what many BRHS students thought commonplace. God blessed me when he sent me to Alexander City. The bar was set high, I hope to get close one day.

From the Obituary...

James R. Thompson, age 88 of Alexander City, AL passed peacefully with his family by his side on August 20, 2022. He was born on April 17, 1934. He is survived by his loving wife Sue Thompson, daughter Terri Thompson (Gene) Chelsea, AL. Son Scott Thompson (Jenny) Gardendale, AL, daughter Ginny Wiland (Scott) Katy, TX. Grandchildren Madison Grindinger – Fort Collins, CO, Meredith Grindinger – Katy, TX, Ty Thompson & Kylie Thompson –Gardendale, AL. One sister-in-law Eloise Thompson of Millry, AL

He earned his B.A. from Livingston University in August 1956, his Master of Music from the University of Alabama in August 1960, his degree from Auburn University in School Administration in 1970.

James met his wife Sue at the University of Alabama and were married for 62 years. In 1968 he won a grant from the Ford Foundation to study new innovations in schools where he relocated his family to the New York/New Jersey & Dade Count Florida areas.

ALcNAfME Fall Events and Chapter Highlights

Dr. Meghan Merciers, Advisor

Music education across the state is in full swing as all classes are officially in session! This means our biggest event of the year is coming up - the Alabama Collegiate NAfME Fall Summit!

Alabama Collegiate NAfME Summit

The summit this year will be hosted at the University of Alabama Moody Music Building on Sunday, October 23, 2022, from 1 p.m.- 6 p.m. Our theme this year is “Unity” as we hope to unite collegiate music education students and educators across Alabama with our excitement and passion for teaching. We will feature a keynote with Dr. Myra Rhoden, 2018 National Band Director of the Year and soughtafter clinician; breakouts with Dr. Jason Sulliman from Troy University (instrumental – band,

orchestra, jazz), Ben Cook from Hewitt-Trussville Middle School (choral), and Karla Hodges from Tuscaloosa Magnet School (general/elementary); as well as instrumental, choral, and Orff music reading ensembles for the very first time! In response to the multiple colleges and universities across the state that have created “Music Education Ensembles” where collegiates can work together to have valuable conducting, teaching, and playing experiences with realistic P-12 music, we plan to recreate these with our breakout speakers as conductors of the ensembles. There will also be an opportunity to share virtual business cards with attendees. The event will conclude with a free dinner so we all have a chance to network and get to know each other.

It is very important that anyone interested in attending the Fall Summit is registered with NAfME and AMEA. Please RSVP as soon as possible! These links can be found on our Instagram page @cnafme_al. We hope to see you there!

Lesson Planning Competition

Other important announcements include our second annual Lesson Planning Competition! This was created in response to collegiates struggling with edTPA requirements in their internships. This is a collaboration with the Higher Education Division (HED) as they will judge submitted lesson plans and pick a final few to be presented at the 2023 AMEA Conference in January. We have simplified the registration process,

Collegiate/HED Divisions

Lesson Planning Competition

Saturday, January 21, 2023 CNAfME STUDENTS plan, prepare and teach effective lessons

so collegiates only have to submit one lesson plan for review! This friendly competition is a fantastic way to become more familiar with the edTPA lesson planning process, as well as get valuable feedback on your lesson plans. If you are chosen to present, you will have the opportunity to share your lesson with other collegiates. The deadline for submissions is November 1, 2022.

professional development session with their faculty.

Montevallo Chapter Officers:

Makala Cone, President

David Dimas, Vice President

Luke Taylor, Treasurer

Jordan Long, Historian Jalaah Blue, Secretary

Troy Chapter Spotlight

Montevallo Chapter Spotlight

The University of Montevallo cNAfME chapter started its semester strong with its first meeting in early September. They matched all their freshman music education students with an older music student as part of their education mentorship program. They are also planning their yearly Java and Jazz event where they showcase the jazz band and boost department involvement. They are busy preparing a service project within the department and a

The Troy University CNAfME chapter was reinstated back in 2018, and we have been growing stronger each year since! We host a variety of professional development clinics (often in collaboration with professors on our campus) covering topics like instrument repair, vocal health, how to practice, and time management. We also host scheduling sessions, social events, fundraisers, and this fall, our first service project! We’re excited to attend Collegiate Summit and AMEA this year as we always do.

Troy Executive Council:

Ayla Trujillo, President

Kensley Fuller, Vice President

Abigail Wall, Treasurer

Matthew Suit, Secretary

Maggie Hargis, Social Media Chair

Troy University cNAfME chapter and some alumni at AMEA 2022

University of Montevallo cNAfME Bulletin Board

Lee-

AOA Updates

Iam so excited about the 2023 North and South Region Orchestra and All-State Orchestra Festivals. Please see the AOA website, found below, for information regarding the North and South Region Orchestra Festivals, occurring January 7-8, 2023. The 2023 All-State Orchestra Festival will take place on the campus of the University of Alabama, February 9-12, 2023.

At the 2023 AOA All-State Orchestra Festival, the Festival Orchestra will be led by Steven Gooden, the Assistant Conductor of the Chicago Youth Symphony Orchestra. Mr. Gooden also conducts with Merit School of Music’s TuitionFree Conservatory, Instrumental and Vocal Music, and Merit Music in Communities programs where he serves as band director at Proviso Math and Science Academy in Forest Park, IL. As a Black musician and motivational educator, Mr. Gooden is passionate about equity and inclusion in classical music. He is committed to never letting the perceptions of others influence the growth within himself or his students. Mr. Gooden finds exceptional joy in empowering young people to push towards being their best selves inside and outside the ensemble. Mr. Gooden holds degrees from Georgia State University and Northwestern University.

Festival Orchestra

Steven Gooden, conductor

Poet and Peasant Overture – Franz von Suppé

2023 AOA Composition Contest Winning Submission – TBA

My Name is Amanda Todd – Jocelyn Morelock

The Sinfonia will be led by Bruce Walker. He is currently Associate Professor of Music at Columbia Basin College in Pasco, WA, Music Director for the Walla Walla Symphony Youth Orchestra, Past President of the Washington chapter of the American String Teachers Association, and on the Board of Directors for the Suzuki Association of the Americas. He is College/University representative for the Washington Music Educators Association, and the 2021 Music Educator of the Year by the Washington Music Educators Association. Internationally, Mr. Walker has worked with the Youth Excellence on Stage Academy in collaboration with American Voices, a non-profit, cultural exchange organization. Through this organization, he has conducted orchestras and taught cello in Iraq, Syria,

Lebanon, and Jordan. Mr. Walker holds degrees from Southern Illinois University Edwardsville and Central Washington University.

Sinfonia

Bruce Walker, conductor

Danse Nègre – Samuel Coleridge-Taylor

Variations on a Theme by Handel – Maurice Whitney

Five Movements in Color, II. The Soul of Remembrance –Mary Watkins

Dream Machine – Brian Balmages

The Consort String Orchestra will be led by Katarzyna (Kasia) Bugaj, Associate Professor of String Music Education in the College of Music at Florida State University. At FSU, she teaches string techniques and methods courses and teaches at the FSU Summer Music Camps. Her research interests include string pedagogy, working with underserved populations, and music teacher education. Dr. Bugaj holds degrees from Western Michigan University, The Peabody Conservatory, and Indiana University, and is a graduate of the Interlochen Arts Academy.

Consort String Orchestra

Katarzyna (Kasia) Bugaj, conductor

Three Pieces in Baroque Style – Krzysztof Penderecki

Breathless – Stephen Chin

The Old Boatman – Florence Price

Libertango – Astor Piazzolla

Please encourage your students to participate in the North/South Region Orchestra and All-State Orchestra Festivals. More information regarding auditions can be found here:

https://alabamaorchestraassociation.org

All-Region/All-State Orchestra

Deadlines for Audition Submission/Registration

October 28, 2022 - String and Harp Audition Materials Due November 11, 2022 - Woodwind, Brass, and Percussion

Audition Materials Due

Joseph

President, Alabama Orchestra Association

Thank you for all that you do to ensure that orchestral music thrives in the State of Alabama. May we strive to build musical communities where our students find safe spaces to express themselves, their experiences, their hopes, and their dreams for a kinder world where all are loved, nurtured, and supported. May this be our mission and may music be our vehicle.

Musically yours, Joseph Lee, President

1946 Yale H . Ellis

Important Dates

2022-2023 Academic Year

North All-Region Orchestra: January 7-8, 2023

South All-Region Orchestra: January 7-8, 2023

All-State Orchestra Festival: February 9-12, 2023

Orchestra Music Performance Assessment: April 14-15, 2023

AMEA Presidents - Past to Present

1948 Walter A . Mason

1950 Vernon Skoog

1952 John J. Hoover

1954 Lamar Triplett

1956 Carleton K . Butler

1958 Mort Glosser

1960 Wilbur Hinton

1962 Lacey Powell , Jr .

1964 G. Truman Welch

1966 Jerry Countryman

1968 Floyd C . McClure

1970 Jerry Bobo

1972 Frances P. Moss

1974 George Hammett

1975 Frances P. Moss

1976 S . J. Allen

1978 W. Frank McArthur

1980 Paul Hall

1982 Lacey Powell , Jr .

1984 Johnny Jacobs

1986 Merilyn Jones

1988 Ronald D. Hooten

1990 Ken Williams

1992 Dianne Johnson

1994 James K . Simpson

1996 Johnnie Vinson

1998 Michael Meeks

2000 John McAphee , Jr .

2002 Tony Pike

2004 Becky Rodgers

2006 John Baker

2008 Pat Stegall

2010 Steve McLendon

2012 Sara Womack

2014 Carl Hancock

2016 Susan Smith

2018 Greg Gumina

2020 David Raney

2022 Rob Lyda

CAPITOL TUNES

Perform in the Rotunda of the State Capitol during the 2023 Legislative Session

A collaborative project of the Alabama State Department of Education, the Alabama Music Educators Association, and the Alabama Institute for Education in the Arts

=This performance opportunity is for public schools only.

=Performances will be in the Alabama State Capitol Rotunda. Space is limited. Ensembles should be no larger than 20-25 students.

=Recommended performance groups include small brass, woodwind, string, vocal, or guitar groups, such as trios, quartets, quintets, or small choirs.

=Each ensemble should plan to perform a minimum of 20 minutes.

=Electricity or amplification may not be used. Chairs or music stands will not be provided. Groups may bring their own stands and chairs if necessary. A piano will not be provided.

=Performances will take place on Thursdays of February and March during the 2022 Legislative Session. Groups should arrive by 11:00 AM at the Gordon Persons Building, warm-up, then proceed one block to the Capitol and perform at 12:00 PM.

=Performing schools will receive a stipend to offset the cost of a bus driver and mileage.

=The deadline to apply is November 1, 2022.

=Apply at https://form.jotform.com/212503983618964

The Reason for the Madness

I’m in a very unique situation. I’m a marching band director as well as a band parent of a student in a marching band other than the one that I teach. That can be a very tough life at times. I rarely get to see my favorite trombone player in action. However, this past Friday night, it was my turn to fulfill my parental obligation to my son’s band as

with me. Of course, this parent had no idea I was a band director. Being incognito is kind of nice when you are always having to make decisions for a band program. In that conversation, I heard that their child had never found success in anything they had participated in growing up. They had tried baseball, football, soccer, and various other activities. This parent offered that, when their child joined the band, it created a place where they fit in and it changed their kid’s life for the better. This parent said that she would hate to know what their child would be without the lessons they had learned through this activity. They talked about the band directors like they were superheroes. I agreed and kept popping popcorn so that I wouldn’t be overwhelmed by the halftime rush.

successful. I hadn’t been paying much attention to the popcorn and was told I could cut the machine off and hope we would sell the mountain of salty, buttery goodness I had created. Maybe I had been a little too optimistic with the amount of popcorn that would go out of the stand that night. After hearing this story, it made me realize why band parents give so much of themselves to our organizations. They too have been looking for

my band had an off week. I happily took my place as director of popcorn operations for a highly contested football game. I was told to make sure we didn’t run out of popcorn at all costs and was “shown the ropes” by a more seasoned band parent. As a director, I’ve been blessed to work with some of the most incredible parents in all of my teaching stops. I’ve included a few images of my favorite moments with outstanding band boosters. However, it was nice to see firsthand the dedication and pride these parents have in their band organization. This opportunity led me to a few conversations that gave me a new perspective on the importance of what directors across the state are providing for both their students and parents during this time of year.

As I was warming the kettle, one of the parents struck up a conversation

As I looked around the concession stand, I noticed several people working who were way too “experienced” to have current kids in the band. I asked one of them about their child and was told they had already graduated. That comment was followed by a statement from another “graduated” parent that said there was no way that they could repay the program for the impact it had on their child’s life. They also added that they just enjoyed being around the other parents and helping the kids have the resources they needed to be

somewhere that they belong and can contribute. That explains why parents will volunteer countless hours so that we can upgrade equipment or purchase new uniforms. Just remember you matter and the effort you put into your program matters. Our programs provide their kids so much that would be absent from their lives if it were not for the band. Lifelong friendships are made from working a concession stand on a Friday night. At some point during the next football game or event you have, make sure you take time to thank the parents who are working to make their kid’s experience the best it possibly can be. After all, they had no idea there was even a football game that evening and were exhausted at the end of the shift. On a positive note, the last box of popcorn was sold just as the game was ending. Go Band!

Salty, Buttery Goodness

The World Can’t Handle Two of This Guy; Clay-Chalkville Band Parents Having a Good Time

Director of Popcorn Activities

Joel Henson - President, Alabama Bandmasters Association

Take Note:

The board adopted new sheets for Solo and Ensemble for 2023. Those will be available for your perusal soon on our website under the Solo and Ensemble tab. The board adopted a new policy addressing e-print scores at MPA. Please make sure you review it at your convenience. It will be published under the MPA section of the website. The decision was made by the ABA

membership to discontinue the audition and selection of students on piccolo, Eb clarinet, and alto clarinet. Further information about piccolo selection can be found in our bylaws.

Due to the rising cost of services and venues, the budget committee recommended and the board approved fee increases to MPA, State Solo Festival, and State Level All-State for 2022-2023. MPA Registration will increase to $2 per student; school fee remains the same. State Solo Festival increases to $35 per audition and there is a new $10 school fee. Lastly, State Level All State Registrations will increase to $40 per student with a $50 school fee. These fee changes will allow us to continue to provide meaningful experiences for our students.

Please look for important legislation to be considered at AMEA on our website.

Future Dates for All-State: All-State Band

(APRIL 27-29 2023) VON BRAUN

CENTER-HUNTSVILLE, AL

(APRIL 25-27, 2024) VON BRAUN

CENTER-HUNTSVILLE, AL

(APRIL 9-12, 2025) OUTLAW

CONVENTION CENTERMOBILE, AL

(APRIL 15-18, 2026) OUTLAW

CONVENTION CENTERMOBILE, AL

In closing, make sure you have updated your profile on the website. You will not receive important correspondence and information without fully completing your demographic information. Our website is directly linked to NAfME and will change your status and credentials if you are not a member in good standing. Look forward to seeing everyone at AMEA. Until then, take time to enjoy the experience.

Band Parents Completely Renovate the Outdated, Worn, and Former Hueytown Band Room

Band Music Reviews by Dr.

Ihope you all are having a positive semester. There are so many great, new pieces out each year and I am excited to be reviewing a few that are on my repertoire list this academic year. The pieces reflect diversity in composers allowing students to see themselves in the works and have exposure to composers they may not know. Additionally, the pieces I’ve chosen all have an uplifting, inspiring feeling to them. Our programming can give both our students and our audiences a sense of escape.

Chasing Sunlight (2017) is a grade 3 piece by Cait Nishimura (www.caitnishimura.com). Nishimura is a Japanese Canadian composer known for writing nature-inspired, programmatic music. She is also the co-host of the Band Room Podcast (www.bandroompod.com). Recently, she has established herself in the wind band community thanks to her win in the 2017 Canadian Band Association Composition Competition, which supports the creation of new works for concert band by emerging Canadian composers. The piece that won her this honor was Chasing Sunlight

Nishimura, in the program notes, says she was inspired by the experience of driving west into the setting sun as if trying to keep up with the Earth’s rotation to catch the last few rays of light before dusk. The steady eighth-note motif throughout the piece represents this sense of urgency, while the soaring, lyrical themes depict the warmth and radiance of the sun low in the sky.

Chasing Sunlight is written in 4/4 time with a Bb Major key signature throughout with no use of accidentals. Instrumental ranges are very comfortable with not many technical challenges. Rhythms are fairly basic with some use of syncopation. Most parts are doubled, creating a sense of security, especially with developing players. It also features a beautiful, lyrical trumpet solo. This piece can be performed with as few as 4 percussionists. If you are looking for beautiful melodies without many technical challenges, this is the piece for you. Chasing Sunlight would be a perfect addition to a spring concert program.

A recording and score of Chasing Sunlight can be found at the following link: www.caitnishimura.com/pages/chasing-sunlight Infinity (2020) is a grade 3 piece by Katahj Copley (www.katahjcopleymusic.com), which musically depicts shooting stars racing across the sky. It was written for the Atlanta Wind Symphony’s performance at the 2021 Midwest Clinic in Chicago, IL.

From the composer: With Infinity, I wanted to construct the phenomena of shooting stars flying through an infinite playgroundspace. As the piece begins, this playground is filled with stars running through the skies. As we transition from dark to light, the stars encounter different scenarios until the end, where they embrace their bright colors and flash across the atmosphere with spectacular grandeur.

Infinity is written in 3/4 throughout with an F Major key signature. However, the middle section, with the use of accidentals, modulates to Db Major for 16 measures. Copley’s layering of rhythmic elements adds intensity and gives the feeling of moving rapidly throughout the galaxy. Driving melodies and ostinatos help solidify this sense of forward movement. The juxtaposition of lyrical

Jeremy Stovall

melodies over rhythmic ostinatos helps create a sense of light versus dark. A memorable ending builds in intensity into a short pause, followed by an exciting conclusion. Instrumental ranges are all within the normal guidelines for a grade 3 composition. The only exception to this could be the trombone range (G above the staff). The percussion parts can utilize anywhere from 7-12 players. Infinity is a high-energy work that would be perfect for a concert opener.

A recording and score of Infinity can be found at the following link: www.katahjcopleymusic.com/infinity

Shimmering Sunshine (2019) is a grade 4 piece by Kevin Day (www.kevindaymusic.com), who has quickly emerged as one of the leading new voices in the band music world. Shimmering Sunshine was written in conjunction with the 2019 M.O.T.I.F. Triptych Consortium, featuring new music by composers Kevin Day, Quinn Mason, and Josh Trentadue.

Day shares that Shimmering Sunshine is a composition that depicts the sun whenever its positioned at high noon, at its brightest point during the day. Throughout the piece, there are different “shimmers” of bright light that bounce around from instrument to instrument, depicting moments of sunshine both beautiful and, at the same time, powerful.

Shimmering Sunshine begins with a thinly scored introduction as if the piece was coming to life. The first full ensemble section contains short crescendos that should be as drastic as possible in relation to dynamic range. Many technical challenges exist in this work highlighting instrumental virtuosity, including numerous woodwind 16th note runs. Day includes intricate, independent lines that result in a densely layered development section. The middle section features a beautiful alto saxophone solo. Instrumental ranges required for brass players test the limits of a Grade 4 composition. Fluctuating meters throughout add to the difficulty level. This work also includes highly involved percussion writing, utilizing anywhere from 6-9 players. Heavy use of syncopated ostinatos as a rhythmic motor element create a propulsive drive in this piece. Shimmering Sunshine provides a great opportunity to showcase the technical proficiency of your ensemble. Your students will love this highly energetic work that is suitable for festival or spring concerts.

A recording and score of Shimmering Sunshine can be found at the following link:: www.murphymusicpress.com/products/w-678

I look forward to hearing your ensembles in the upcoming year and wish the best for you and your students. 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

Malala (SSAA, speaker, doumbek)

Joan Szymko

quotes by Malala Yousafzai adapted by Szymko

Joan Szymko Music

JS-058 / $2.65 (also available for digital download)

Duration: 3:30

Text:

I am Malala, their bullet did not stop me.

I am Malala, their bullet gave me power to raise my voice. Hear my voice:

One child, one teacher, one pen, one book— can change the world.

I am Malala.

I am afraid of no one.

Review:

This is an inspiring composition that speaks to the strength and determination of Malala Yousafzai who, as an advocate for Pakistani girls’ rights to an education, was shot in the head by the Taliban in 2012. Surving the trauma, she eventually became the youngest person to be nominated for a Nobel Peace Prize, and the composer indicates that Malala continues to advocate for children’s education globally. The song begins with the unaccompanied main theme in unison, with doumbek entering after three measures. When the main theme repeats, Szymko slowly weaves in the harmonic and rhythmic support from the other voice parts, creating a layering effect. The haunting melody and harmonies are driven along by the steady pace established by the percussion (doumbek). The end of the composition is as though there is no ending because of the slow fade out as created by the decreased dynamics with each repeat of the final section.

There is a Place (SSAA, divisi, a cappella)

Rosephanye Powell

Adapted from Psalm 85:10

Gentry Publications

JG2549 / $2.75 (also available for digital download)

Duration: 3:30

Text:

There is a place where Truth and Mercy will meet Yes, there is a place where Justice and Peace shall kiss, Please, take us to this place And reveal to us a vision of Shalom That prevails in our world; Make us ambassadors of Justpeace. Shalom.

Review:

Commissioned by MUSE, Cincinnati Women’s Choir, Rosephanye Powell creates a composition that speaks to the heart cry for peace in our world. It is a text that can most certainly connect with all singers and audiences. Although the text is adapted from Psalm 85,

it is not blatantly sacred, thus, making it very appropriate for performances in secular settings. The song is structured in three sections, the first and second of which are homophonic with beautifully lush harmonies. The third section is lengthier than the previous two sections, and it involves a mixture of homophony with gentle layerings of independent voice parts on separate texts, ending on the unison and repeated text: Shalom

La Maumariée (SSAA with piano and oboe or other C instrument, opt. Frame Drum, and optional body percussion)

French folk song

arranged by Joni Jensen

Walton Music

WW1524 / $3.35

Duration: Approximately 3:45

TRANSLATION:

My father wants me to marry, I hear the wolf and the fox they sing. My father wants me to marry, To an old man, he’s given me.

I hear the wolf, the fox and the lark sing. I hear the wolf and the fox they sing.

…He has no wealth and no money…

…He has a stick from an apple tree…

…I know he’ll use it to whip me…

…Ah! If he hits me, I will flee!…

…I’ll run away to the woods with glee…

…Where I will play and can be free…

…There I will learn what love can be…

Review:

This is a dynamic concert closer. As given above, it involves several musical entities, and it is lively and rhythmic as one might associate with a French folk song. Jensen’s setting is well written and fits each voice part in its appropriate tessitura. However, the second alto part extends from a low G below middle C up to a high E. Also, the conductor will need to decide on voice part assignments based on the balance of her/his ensemble. For instance, in one section of the music, the altos are divided while all sopranos sing in unison. In another section of the music, the staves are labeled as Part 1, Part 2, Part 3 rather than soprano/alto. Jensen gives instructions to split the ensemble into three equal parts since that particular section of the music functions more like a round (canon). The song ends strongly with the ensemble speaking “Chanter (They Sing)!”

Dr. William Powell Director of Choral Activities Auburn University

Focus: “Secular” octavos for experienced treble choirs

General Music Reviews

Recorder with Poems and Tales: A Literary Complement

By Donna Basile © 2021 Sweet Pipes

If “Hot Cross Buns” doesn’t rock your world like it used to, update your bag of recorder tricks with Recorder with Poems and Tales by Donna Basile. I picked up this book during a workshop this summer and immediately got excited to jump back into teaching recorder after choosing to neglect it the past few years due to COVID. Even if you don’t teach recorder, many of these activities will work with speech, body percussion, and other pitched or unpitched instruments.

Donna Basile is a retired elementary music teacher from New York who presents recorder workshops and has taught recorder for levels 1, 2, and 3 Orff courses for over 25 years. The book is published by Sweet Pipes and is available directly from the publisher (www.sweetpipes.com) or through a variety of other music stores. A code is included for online access to PowerPoint visuals for each activity.

The 21 activities in the book are organized into technique drills, creativity, and review. By using nursery rhymes, poetry, chants, children’s books, and original stories by the author, the drilling necessary when learning recorder becomes less monotonous. “The repetition is embedded in the activity, thereby alleviating the need for boring drill. Whether it is a single note, a combination of notes, or an entire melody, this book contains examples for each type of repetition.”

Several of the activities in the book do not rely on students’ ability to read notation. Personally, I prefer introducing recorder to my students without the added step of having to decode standard notation while also thinking about where fingers go, overblowing, “my recorder doesn’t work”, etc. In my experience, when students feel successful from the beginning, they are much more likely to buy into the process. The lack of melodic notation in some of the activities also allows for teachers to focus on different sets of pitches if they don’t like what’s suggested in the book.

The technique section of the book includes exploring ways to make bird sounds to accompany poetry by authors like Angelou, Frost, and Dickinson, to creating a knock-knock joke rondo. Throughout the book, all diatonic pitches from C to C are introduced, although you could certainly substitute or add others as needed. The creativity section contains 9 activities with opportunities for students to improvise and/or compose. Some of these include improvising and adding creative movement to cinquains and discovering unconventional ways to play hand

drums and recorders to musically depict visual artwork and designs. The activities in the review section consist of 3 stories that can be used to plug in several songs your students already know to create an extended performance.

Finally, what easier way to advocate for the role your music curriculum plays in your school than by incorporating some ELA standards into your upper elementary classes? Perhaps an activity might spark collaboration with your general education colleagues to incorporate stories and literary devices your students are already learning (Cinquains? Limericks? Alliteration? Shakespeare?). Team up with your art teacher and have students “play” their latest art project using recorders! Video their performance and post it on your school’s social media page. Is there an idea for a grant hidden in one of these activities? I can see several of the lessons from this resource turning into a piece for performance or even an entire program!

Jason Jackson teaches K-6 music and Orff Ensemble at Daphne East Elementary School

by Jason Jackson

Audition

February

Degree

Dr. Robert Abend Associate Director of Bands

Dr. Clayton Maddox Asst. Professor of tuba/Euphonium

Dr. Brian Nozny Director of Percussion Studies

2023 AMEA Conference Schedule

5:00-7:00 pm

5:00-7:00 pm

5:00-7:00 pm

7:15-9:30 pm

7:15-9:30 pm

7:15-9:30 pm

7:15-9:30 pm

AMEA Governing Board Meeting, Sheraton Forum L

AVA Scholarship Audition, Sheraton Forum F

ABA Leadership Training, Sheraton Forum C

ABA Board Meeting, Sheraton Forum C

AOA Board Meeting, Sheraton Forum D

AVA Board Meeting, Sheraton Forum F

Collegiate Board Meeting, Sheraton Forum E

7:30 am -5:00 pm Conference Registration Open, Sheraton Forum Registration Desk

8:00-9:00 am

9:00 am - 4:00 pm

9:15-10:15 am

AMEA Leadership Breakfast, BJCC East A-B

FAME, Sheraton Forum E

AVA Concert Session, BJCC Theater

Buckhorn High School Bella Voce, Stacy Daniels, Conductor

Florence High School Chamber Choir, Kevin Reese, Conductor

Wednesday, January 18, 2023

9:15-10:15 am

9:15-10:15 am

9:15-10:15 am

Thursday, January 19, 2023

9:15-10:15 am

9:15-10:15 am 10:30 am-5:00 pm 11:00 am-12:00 pm A 11:00 am-12:00 pm

ABA Concert Session, Sheraton Birmingham Ballroom

Oak Mountain High School Percussion Ensemble, Kevin Ownby, Conductor

ABA & Collegiate Interest Session, Sheraton Forum A-B

Brass Instruments 101: Common Problems and Solutions - Craig Aarhus, Clinician

HED Interest Session, Sheraton Forum C

Being a beginner in my own classroom: Incorporating Modern Band in a Collegiate Methods Course

Julie Bannerman, Clinician

AOA Interest Session, Sheraton Forum D

“Say What?”: Reimagining Our Rehearsal Dialogue - J. Nick Smith & Cory Near, Clinicians

Elementary/General Interest Session, Sheraton Forum J

Inclusive Harmony: Meeting your Musicians at Their Level - Michele Hobizal, Clinican

Exhibits Open, BJCC East Ballroom

AOA Interest Session, Sheraton Forum D

Bass-ic Issues in the String Classroom, Sidney King, Clinician

Collegiate Interest Session, Sheraton Forum G

Part 1: Preventing Voice Injuries in Current and Future Music Educators, Singers, and Other Professional Voice Users

Shellie Beeman, Clinician

11:00 am-12:00 pm

11:00 am-12:00 pm 11:00 am-12:00 pm 11:15 am-12:00 pm

AVA Interest Session, Sheraton Forum C

Choir 2023: Remixing & Rebuilding a Space for All - Maria Ellis, Clinician

Elementary/General Interest Session, Sheraton Forum J

It's A Musical World: Travel the World Through Music - John Jacobson, Clinician

ABA Interest Session, Sheraton Forum A-B

A Practical Approach to Basic Improvisation - James Simpson, Clincian

ABA Concert Session, BJCC Theater

Smiths Station High School Symphonic Band - Gene Butler, Conductor

12:00-1:00 pm

12:00-1:00 pm

12:00-1:00 pm

1:00-2:00 pm

HED Luncheon, BJCC East A-B

Past Presidents Luncheon, BJCC East C

FAME Luncheon, Sheraton Forum H-I

HED Interest Session, Sheraton Forum A-B

From Page to Stage: Commissioning as a Tool for Unlocking Student Creativity

Kathleen Carter Bell & Conor Bell, Clinicians

1:00-2:00 pm

1:00-2:00 pm

1:00-2:00 pm

AVA Interest Session, Sheraton Forum C

That's a Bop! Fun Ways to Teach Music Literacy - Maria Ellis, Clinician

Elementary/General Interest Session, Sheraton Forum J

Hungary? Try Kodály! - Tiffani Stricklin, Clinician

ABA Interest Session, Sheraton Forum Theater

The Coffee Shop Returns: Teaching Middle School in 2023

Leah Seng, Brandon Peters, & David Caddell, Clinicians

1:10-2:00 pm

2:15-3:15 pm

ABA Concert Session, BJCC Theater

Rehobeth High School Symphonic Band, Marc McLendon, Conductor

AOA Interst Session, Sheraton Forum D

Teaching Double Bass Technique Through Orchestral Excerpts for the Beginning and Intermediate Bassists

Sidney King, Clinician

2:15-3:15 pm

2:15-3:15 pm

2:15-3:15 pm

3:30-4:20 pm

3:30-4:30 pm

3:30-4:30 pm

3:30-4:30 pm

3:30-4:30 pm

HED Interest Session, Sheraton Forum C

Functioning Within Disfunction - Jane Kuehne, Clinician

Elementary/General Interest Session, Sheraton Forum J

Games for When You Can’t Sing! - Kristin Pugliese, Clinician

Collegiate Interest Session, Sheraton Forum Theater

From the Podium: Get the Percussion Sound You Want and the Sound You Need! - Tracy Wiggins, Clinician

ABA Concert Session, BJCC Theater

Daphne High School Wind Ensemble, Jamar Dumas, Conductor

AOA Interest Session, Sheraton Forum C

Brain Hacks for Music Teachers: How to Make Every Student An Obsessed Practicer - Allison Wilkinson, Clinician

Elementary/General Interest Session, Sheraton Forum J

Creative Bits: What a Hit!!! - Sandy Lantz & Gretchen Wahlberg, Clinicians

AVA Interest Session, Sheraton Forum Theater

iSing: Tech Tools for the Choral Classroom - Tucker Ratcliff , Clinician

Collegiate Interest Session, Sheraton Forum A-B

Let's Band Together: Celebrating Women Band Directors Past, Present, and Future

Leigh Thomas & Lindsey Underwood, Clinicians

3:30-4:30 pm

5:30-6:30 pm

5:30-7:00 pm

7:00-7:40 pm

HED Faculty Recital, Sheraton Birmingham Ballroom

HED/Collegiate Mixer, Sheraton Birmingham Ballroom Lobby

Elementary/General Governing Board Meeting, Sheraton Forum J

Sarah McLendon, Presiding

ABA Concert Session, Sheraton Birmingham Ballroom

Muscle Shoals Middle School Band, Daniel Seay, Conductor

7:00-7:45 pm

7:00-7:40 pm

8:10-9:00 pm

Elementary/General Evening Session, Sheraton Forum J

Drumming United - Sandy Lantz & Gretchen Wahlberg, Clinicians

AVA Concert Session, BJCC Theater

Iron City Singers, Charles Henry, Conductor

ABA Concert Session, BJCC Theater

Hoover High School Symphonic Winds, Ryan Fitchpatrick, Conductor

Friday, January 20, 2023

7:30 am - 1:00 pm

8:00-8:50 am

8:00-8:50 am

8:00-8:50 am

Conference Registration Open, Sheraton Forum Registration Desk

ABA Business Meeting, Sheraton Forum A-B

Joel Henson, Presiding

Elementary/General Interest Session, Sheraton Forum J

Ukulele – Easy as 1, 2, 3!!! - Sandy Lantz & Gretchen Wahlberg, Clinicians

HED Interest Session, Sheraton Forum E

How Can I Utilize Technology in My Rehearsal...Lessons I Learned from Athletics

Megan Rudolph, Moderator

Panel: Amber Pettaway, Ronald Moore, & Nathan Jackson

8:00-8:50 am

Collegiate Interest Session, Sheraton Forum G

The Real Alto's Lament: Dismantling Traditional Voice Classification and Promoting Fluid Voice Classification in Choral Singing - Gretchen Windt, Clinician

8:00-8:50 am

8:00-8:50 am

AOA Interest Session, Sheraton Forum D

Minor Confrontations: Managing them with Confidence - Anne Witt, Clinician

AVA Interest Session, Sheraton Forum C

You Are Your Breath: MindfulnessFor the Singer - Ian Loeppky, Clinician

8:30 am-5:00 pm Exhibits Open, BJCC East Ballroom

9:00-9:50 am

9:00-9:50 am

9:00-9:50 am

9:00-9:50 am

9:00-9:50 am

9:00-9:50 am

9:00-9:50 am

10:15 am - 12:00 pm

ABA Concert Session, Sheraton Birmingham Ballroom

University of Alabama at Birmingham Wind Symphony, Sean Murray, Conductor

AVA Business Meeting, Sheraton Forum C

Hilen Wilson, Presiding

AOA Interest Session, Sheraton Forum D

Bow Strokes and Right Arm Pedagogy for the Middle and High School Director - Sidney King, Clinician

Collegiate Interest Session, Sheraton Forum G

"Help! I Have an Interview in Two Days!": Tips to Strengthen Your Interview Skills - Melissa Life, Clinician

HED Interest Session, Sheraton Forum E

Steps for Successful Collaborations - Brenda Luchsinger & Kristofer Sanchack, Clinicians

ABA Interest Session, Sheraton Forum Theater

Percussion In The March: From a Percussionist-Turned-Band Director - Alex White, Clinician

Elementary/General Division Business Meeting, Sheraton Forum J

Sarah McLendon, Presiding

AMEA General Session, BJCC Theater

AMEA Business Meeting, Rob Lyda Presiding

Keynote: Deborah Confredo

Featured Performance - The Dill Picklers

12:00-1:30 pm

12:00-1:30 pm

1:00-3:00 pm

1:00-2:00 pm

1:00-2:00 pm

1:00-2:00 pm

Collegiate Luncheon, BJCC East A-B-C

Phi Beta Mu Luncheon, Sheraton Forum H-I

HED Poster Session, BJCC East Foyer

AVA Interest Session, Sheraton Forum C

The Gospel Sound in the Choral Classroom - Maria Ellis, Clinician

AOA Interest Session, Sheraton Forum G

Grant proposals for Your Program Aren't Scary - Julie Hornstein, Clinician

Elementary/General Concert Session, BJCC Theater

Trace Singers, Lisa Latham Conductor

Rucker Rhythm, Andrea Marsh, Conductor

1:15-2:00 pm

2:15-3:15 pm

2:15-3:15 pm

ABA Concert Session, Sheraton Birmingham Ballroom

Auburn Junior High School Wind Symphony, Joshua Wine, Conductor

Elementary/General Interest Session, Sheraton Forum J

Songs from the Wayside: Revisiting Repertoire from the 1960’s-1990’s - Becky Halliday, Clinician

ABA Interest Session, Sheraton ForumTheater

Conversation with our Head Adjudicators - Joel Henson, Moderator

Panelists: DAvid Allinder, John Cooper, Bill Connell, & Pat Stegall

2:15-3:15 pm

2:15-3:15 pm

2:15-3:15 pm

3:30-4:20 pm

3:30-4:20 pm

AOA Interest Session, Sheraton Forum D

Shifting for Low Strings. A Classroom Approach - Sidney King, Clinician

AVA Interest Session, Sheraton Forum C

Making the Grade: Building Assessments that Matter - Melissa Life, Clinician

Collegiate Interest Session, Sheraton Forum E

I'm the New Band Director! What Do I Do Now? - Mark Walker, Clinician

ABA Concert Session, BJCC Theater

Huntsville High School Wind Ensemble, Stuart Tankesly, Conductor

AMEA Interest Session, Sheraton Forum G

Alabama Arts Education Initiative Grants & artlook®Alabama Connecting Public Schools with Quality Arts Programs

Andy Meadows, Clinician

3:30-4:20 pm

3:30-4:20 pm

AVA Interest Session, Sheraton Forum C

Serious Fun: Revitalize Your Teaching Through Play - Morgan Luttig & Kari Adams, Clinicians

ABA Panel Discussion, Sheraton Forum Theater

Panel: How to Thrive as a Woman Band Director - Meredyth Petersen, Moderator

Panelists: Betty Bates, Missy Lindley, Deana Rizzo, Sallie White, & Suzanne Winter

3:30-4:30 pm

3:30-4:30 pm

3:30-4:30 pm

4:30-5:30 pm

HED Student Recital, Sheraton Birmingham Ballroom

AOA Business Meeting, Sheraton Forum D

Joseph Lee, Presiding

Elementary/General Interest Session, Sheraton Forum J

K-2 For You, John Jacobson, Clinician

ABA Interest Session, Sheraton Forum Theater

All Things Oboe: To Start or to Switch and Reed Fixing Tricks! - Erin Lyon, Clinician

4:30-5:30 pm

4:30-5:30 pm

4:30-5:30 pm

7:00-9:30 pm

ABA/Collegiate Interest Session, Sheraton Forum G

Mischief Managed!: Creative Solutions for Classroom Management - Emily Parker & Jenney Merritt, Clinicians

AVA Interest Session, Sheraton Forum C

Kodály-Inspired Activities for the Choral Rehearsal - Scott Sexton, Clinician

HED Interest Session, Sheraton Forum E

Foolproof Band Arranging - Michael Zelenak, Clinician

AMEA General Session, BJCC Theater

AMEA Awards

University of Alabama at Birmingham Concert Choir - Brian Kittredge, Clinician

Alabama Intercollegiate Band - Marcellus Brown Conductor

Saturday, January 21, 2023

8:00-9:00 am

8:00-9:00 am

8:00-9:00 am

8:00-9:00 am

8:00-9:00 am

Collegiate Interest Session, Sheraton Forum Theater

Conducting 101: Classroom Application of Your Collegiate Conducting Class - Emily Gray, Clinician

ABA Business Meeting, Sheraton Forum A-B

Joel Henson, Presiding

Elementary/General Interest Session, Sheraton Forum J

Songs in the Key of Me - John Jacobson, Clinician

AVA Interest Session, Sheraton Forum C

From Mediocracy to Excellence! - Megan Rudolph, Clinician

HED Interest Session, Sheraton Forum E

Together, We Are Stronger: What Studio Voice Teachers and Choral Conductors Can Learn From Each Other

Sarah Wee & Diane Orlofsky, Clinicians

8:00-9:00 am

9:15-10:15 am

9:15-10:15 am

9:15-10:15 am

9:15-10:15 am

9:15-10:15 am

10:30 am-12:00 pm

10:45-1:45 pm

AOA Reading Session, Sheraton Forum G

AVA Concert Session, BJCC Theater

Miles College Choir, Valerie R. Harris, Conductor

ABA Interest Session, Sheraton Forum A-B

Teaching the Saxophone: Insight on Proper Instruction and Application. - Lori Ardovino, Clinician

Elementary/General Interest Session, Sheraton Forum J

Mixing It Up with Children's Lit - Sandy Lantz & Gretchen Wahlberg, Clinicians

AOA Interest Session, Sheraton Forum G

Know the Way, Show the Way and Go the Way: Leadership From the Podium - Justin White & Tim Heath, Clinicians

HED/Collegiate edTPA Lesson Plan Competition, Sheraton Forum Theater

Lightning Round, Sheraton Forum Theater

ABA Concert Session, BJCC Theater

10:45 am - All-State Middle School Jazz Band - Kim Bain, Clinician

11:30 am - All-State Bronze Jazz Band - Theo Vernon, Clinician

12:15 pm

- All-State Silver Jazz Band - Dave Camwell, Clinician

1:00 pm - All-State Gold Jazz Band - Todd Stoll, Clinician

1:00-3:00 pm

1:00-3:00 pm

ABA Adjudicator’s Clinic, Sheraton Forum G

Chris Lindley & Terry Ownby, Clinicians

AMEA Governing Board Meeting, Sheraton Forum E

Rob Lyda, Presiding

2023 AMEA Performing Groups

The Auburn Junior High School Band Program serves approximately 200 students in eighth and ninth grade in the community of Auburn, Alabama - home of Auburn University. After outstanding seventh grade beginner instruction at the East Samford School under the direction of Mrs. Kim Chenier, students at Auburn Junior High School are placed into one of three ability-based concert bands and offered supplemental jazz band during their second and third year of instruction at AJHS, all under the direction of Mr. Joshua Wine for the last eleven years. The Wind Symphony is made up of the top sixty instrumentalists at Auburn Junior High School, who continue to push the boundaries of what middle-level musicians can accomplish. In addition, many of the ninth graders at AJHS also participate in the award-winning Auburn High School Marching Band. The band students at AJHS are frequent participants in the various All-State Bands and Honor Ensembles throughout our state and region, frequently producing the most students from any one middle or junior high school in the Alabama All-State Middle School Bands.

The Buckhorn High School Bella Voce is an auditioned ensemble consisting of the 20 -25 most advanced treble voices in the choral department. Members of Bella Voce represent exemplary character, outstanding musicianship, and a true passion for creating music at the highest level. Bella Voce members regularly perform in all department concerts, school & community programs, All-State, and honor choir festivals. Consistently, Bella Voce members have received superior ratings at State Choral Performance Assessment and adjudicated festivals.

Established in 1989, Daphne High School, an International Baccalaureate World School, is a comprehensive 7A public high school that currently serves approximately 1750 students in grades 9-12. DHS was named by the U. S. Department of Education in 2012 as the first National Blue Ribbon School in the history of the Baldwin County Public Schools. The DHS Fine Arts and Athletic programs are large, and diverse and have also been recognized at the state, regional and national levels on numerous occasions during the school’s thirty-year history. A wide range of core and elective courses are offered including thirteen Advanced Placement classes and Dual Enrollment classes through Coastal Community College. In addition, the school offers the International Baccalaureate Programme, one of the most rigorous, high school curriculum in the world. The Daphne High School Band Program consists of approximately 200 students in grades 9-12. The band consists of 2 concert bands, marching band – “The Sound of the Eastern Shore”, jazz band, 2 winter guards, and 2 percussion ensembles. The music department also teaches guitar, piano, music technology, recording studio, AP music theory, and IB music. The Wind Ensemble has made straight superior ratings at MPA since 2011 and the Marching Band consistently earns best in class and overall awards at marching competitions all over the Southeast.

The Chamber Choir of Florence High School is a group with multiple functions and titles. In the past it has been known as FHS Mixed Competition Show Choir. It is also commonly called “Mixed Select” and simply “Sixth Period” which is when the course is offered. They are highly esteemed within our program—a group to which younger, less experienced students aspire. This is an audition group, with new members selected at the end of each year on the basis of solo performance, sight-reading skills, and the ability to hold on to a harmony part in a small group. Chamber consists of 10 th through 12th graders. In a given year, this group may have anywhere from 20 to 32 members. Currently there are 30. This choir is the backbone of our choral music program, as well as our show choir program. They perform several numbers in our fall concert and many in our spring show choir show. They also perform at Christmas and accept as many invitations as possible to sing for community groups and events. This past year they received all Superior “1” ratings at State Choral Performance Assessment. Ten of last year’s group’s 20 members auditioned for All-State Choir, and nine were selected. A great deal of dedication and commitment is required to be a member of Chamber Choir. They work hard, rise to every challenge placed before them, love each other, and have great fun making music together.

Hoover High School “Symphonic Winds” is our premier concert ensemble. It is an auditioned band that encompasses the highest achieving instrumental musicians at Hoover High School. Each year, the students in Symphonic Winds work diligently to play the highest quality literature within the wind band repertoire and are grateful to have a tradition of performing in many exciting and meaningful settings. The ensemble is proud to have performed at the Alabama Music Educators in service Conference. In 2020, the band performed at the CBDNA/NBA Southern Division Conference. Symphonic Winds has also performed as a featured ensemble at the “Music for All,” National Concert Band Festival in Indianapolis, IN. The band was awarded the distinction of “Honor Ensemble” at NAI (National Adjudicators Invitational) in Atlanta, Georgia. Symphonic Winds has performed as an invited guest ensemble at the University of Alabama Honor Band and the UAB Honor Band Festivals. The ensemble has also been invited to perform at the Alys Stevens Center with The University of Alabama at Birmingham Wind Ensemble and participated in the inaugural UAB Concert Band Invitational. Additionally, Symphonic Winds performed at the first annual “Crimson Festival of Winds”at the University of Alabama in Tuscaloosa. The ensemble has an outstanding tradition of over twenty-five consecutive years of superior ratings at Alabama’s State Music Performance Assessment.

The Huntsville High School Wind Ensemble has an enviable record of achievement. The band has consistently rated superior in district, state, and regional concert, marching, and jazz competitions. The band has performed in Mexico, Canada, Austria, The Bahamas, England, Ireland, Denmark, Sweden, Spain, and Italy. The Huntsville High School Band has recently accepted an invitation to perform at the 2024 New Year’s Day Parade and Concert Gala in London, England. The band has performed at the Alabama Music Educator’s Conference many times, most recently in 2009 under Dr. David Spencer. The Wind Ensemble consistently performs grade 5 and 6 literature at Music Performance Assessment. The Huntsville High School Band has approximately 160 students that include a Wind Ensemble, Symphonic Band, Jazz Ensemble, Competition Marching Band, Football Band, Percussion Ensemble, and numerous Chamber Ensembles.

Iron City Singers was founded on two principles: The singing of excellent choral music at a high level of artistry, and, Performing as an ensemble in which each member feels a strong sense of connection to one another. After each rehearsal, all Singers are invited to a social event as a group to strengthen the bonds between members. Rehearsals are long and demanding, and social events allow time to make connections beyond the music. This year marks the Fifth Anniversary of Iron City Singers. In that time, we have grown from a small, informal group of new acquaintances to an established, substantial, and respected ensemble with a strong sense of community. Future plans for Iron City Singers include recording sessions, regional performances, and ultimately a performance at an ACDA (American Choral Directors’ Association) convention and an international tour. If you are interested in learning more about Iron City Singers, ways you can contribute, or how you can sing with us, please email us at ironcitysingers@gmail.com. Also, follow us on Instagram @ironcitysingers and on Facebook!

The Muscle Shoals Band Program was founded in 1965 under the direction of Charles Stratford and over the years has developed a tradition of musical excellence. Muscle Shoals Middle School is part of a city school system that consists of one middle school and one high school. Muscle Shoals Middle School hosts three concert bands, one for each grade level 6-8, and one jazz band made up of 7th and 8th grade students. The Muscle Shoals Middle School bands have earned consistent superior ratings at Alabama State Music Performance Assessment throughout the years. In 2000, the Muscle Shoals Middle School band performed at the Alabama Music Educators Association Conference. Since then, the program has seen growth and continues to perform at various venues and events, the latest being the 6th Annual University of Alabama Middle School Honor Band Festival in December of 2018. Our number of All State Band participants continue to grow from year to year, as well. The Muscle Shoals band program believes that music education is a vital part of becoming an educated person and preparing for life. We teach creative and critical thinking, problem solving, and individual responsibility every day. These lessons and skills are inherent in every music class and benefit students as they continue their educational career. Also, students learn interpersonal skills and the ability to motivate and influence a group to work together toward a common goal for their common good. Every student will gain an appreciation of music and become informed consumers in their long lasting enjoyment of music. Our goal is that every student will become the very finest player he or she is capable of becoming. Through the process of progressing as an individual player and member of a performing ensemble, each student will gain an understanding of how music is put together as a composition. Students will also gain a respect for great performers and performances as they discover the demands of great music on the individual in preparing and performing.

2023 AMEA Performing Groups

The Oak Mountain High School Percussion Ensemble has an annual membership of 10 to 15 students each year, consisting of the finest percussion players at OMHS. The ensemble meets daily during the school schedule and, under the direction of Kevin Ownby, performs music covering a large spectrum from the percussive repertoire. The OMHS Percussion Ensemble has placed first in the high school percussion ensemble competition at the Percussive Arts Society’s International Convention. They were later invited to perform as a featured ensemble at PASIC in 2007, and are the only high school ensemble from Alabama to ever earn this honor. In 2016, they were invited to perfor m at the Sandy Feldstein National Percussion Festival in Indianapolis, Indiana. They have also performed on three separate occasions at the Alabama Percussive Art’s Society’s Day of Percussion and twice at the Samford Percussion Ensemble Festival. The majority of students enrolled in this group take private lessons and members have consistently placed in the Alabama All-State Bands since the program’s inception in 1999.

The Rehobeth High School Symphonic Band is a part of the Rehobeth High School Band Program. The Rehobeth Band Program includes the Marching Band, Symphonic Band, and Jazz Band. The band program has had numerous students perform in the District 8 Honor Band, ABA All State Bands, and many College/University Honor Bands. We are most proud of our student involvement in other clubs and athletics. We have students involved in ROTC, FFA, Student Council, Basketball, Football, Cheer, Beta Club, various Honors Society, FCCLA, and several other clubs and organizations. Rehobeth High School is tucked away in the Southeast corner of Alabama, 15 mins from the Florida line and an hour from the Georgia line. The Band was proud to represent the school and community in April of 2022 at Sea World in San Antonio. The Rehobeth Band Program is under the direction of Marc McLendon.

Rucker Rhythms is an elective elementary performing ensemble comprised of students in the 4th-6th grades from Rucker Boulevard Elementary in Enterprise, AL. Rhythms performs many times throughout the school year at both school and community events. In 2022, Rucker Rhythms performed with the America Sings! Festival in Washington D.C. Members of Rucker Rhythms have also been honored to participate in the AMEA Elementary Music Festival. Rucker Rhythms puts an emphasis on incorporating a variety of classroom instruments in every performance in an effort to lay a foundation and develop the musicianship of each child both vocally and instrumentally. We also value community service through supportive performance opportunities as well as various service projects.

The Smiths Station High School Symphonic Band is the premier performance ensemble at Smiths Station High School. Smiths Station High School is located in Smiths Station, Alabama, and is a part of Lee County Schools. The Symphonic Band has received Superior Ratings since its inception. The Symphonic Band has performed at the Southeastern United State Concert Band Clinic (2003) and the Alabama Music Educators Association State In-Service Conference (2007). The Smiths Station High School Band Program is comprised of two concert bands, a jazz ensemble, a marching band, a percussion ensemble, a olor guard, a winter guard, a majorette line, and numerous chamber ensembles. Since 1972, the Smiths Station Band Program has only had three Director of Bands: Rick Teel (1972-2000), Dr. Rusty Courson (2000-2016), and Gene Butler (2016-present).

The Miles College Choir is a choral ensemble consisting of auditioned students who have a devotion and appreciation for music. The students who are a part of the Choir strive to present a high quality choral experience by performing all genres of music with excellence. To continually nurture the smaller ensemble which evolves from the Choir, The Golden Voices are a smaller group comprised of elite singers selected from the Choir and chosen by the Director to present an equally excellent performance in the ensemble arrangement. Both choral ensembles perform on and off campus throughout the year and present repertoire of diverse musical styles and various historical periods.

The UAB Concert Choir is the select choral ensemble at the University of Alabama at Birmingham. The choir maintains a rigorous performance schedule, giving multiple concerts locally, regionally, nationally, and internationally. Despite the challenges of the last year and a half, the choir has maintained a regular schedule of rehearsals, virtual and outdoor performances, and an overall gratitude for doing what we love, all while adhering to the strictest of protocols and safety measures. In 2021, the choir was fortunate to have sung for and worked with internationally acclaimed composers, including masterclasses with Michael J. Trotta and Jake Runestad. The choir engaged in a virtual performance of UAB’s Alma Mater, which was the highlight of the 2020 and 2021 virtual commencement ceremonies.

Trace Singers is a non-auditioned group of elementary music students who love to sing. The group consists of 30 5th graders from 5 different classes who gather on Tuesday and Wednesday mornings from 7:15-7:45 a.m. to sing together. The singers are learning the basics of pitch-matching and solfege and discovering the new sounds of harmony. The goal of Trace Singers is to make choral music accessible for students at a young age. Students come from different backgrounds and most have never sung in a choir before. The group changes every year as students graduate and go to middle school. Former Trace Singers groups have sung for the Bicentennial celebration at the Alabama State Capitol, been featured at the Hoover High School Winter Concert, and participated in various community events in Hoover, Alabama. They are excited to sing for the Alabama Music Educators Association and want you to know they fully believe Music Changes the World.

The University of Alabama at Birmingham Wind Symphony is the premier performing ensemble for wind, brass and percussion students at the university. Members are selected through audition each semester and comprise the best musicians on campus. Over twenty unique majors are represented in the group from music education to biomedical engineering. The primary objective of this ensemble is to perform literature of the highest musical value with emphasis on works originally written for band and wind ensemble. High expectations for individual musicianship and advanced technical attainment provide members with a musically enriching and artistic performance experience.

2023 Conference Featured Speakers, Performers, & Clinicians

Keynote Speaker

NAfME National President-elect Deborah A. Confredo. Deborah A. Confredo has taught elementary, middle, and high school instrumental music in New York and Pennsylvania, and has been a music teacher educator at Illinois State University, University of Illinois, and Temple University. She is currently Professor of Music Education and Director of Online Graduate Studies in Music Education at Temple University, and Immediate Past Chair of the NAfME Society for Research in Music Education. She has held membership with the Pennsylvania Music Educators Association, the New Jersey Music Educators Association, and the Louisiana Music Educators Association (LMEA). She is a member of LMEA’s Council for Diversity, Equity, and Inclusion; Professional Development Committee; and Louisiana Music Adjudicators Association.

Featured Performing Group

THE DILL PICKERS are a vocal string band based in Birmingham, Alabama. They have been performing together in concerts and theatrical productions since 1999. Performing gospel, bluegrass, folk, country and old time string band as well as many original songs, THE DILL PICKERS accompany themselves with a wide range of instruments including banjo, guitar, mandolin, upright bass, fiddle, harmonica, piano, strum stick and spoons. Band members are Norton Dill, Stewart Jackson, Theresa McKibben, W. Scott Stewart, Kneeland Wright and Lesli Wright.

Intercollegiate Band Clinician

Marcellus Brown is the Director of Bands at Boise State University and conducts the University Symphonic Winds and the Treasure Valley Concert Band. He teaches instrumental conducting and serves as the Director of the Boise State University Summer Chamber Music Camp. Under his direction the University Symphonic Winds has been recognized as one of the outstanding large wind ensembles in the Northwest. They have presented concerts at numerous Idaho State Music Educators Conferences, the Western/Northwestern College Band Directors National Association (CBDNA) Regional Conference and the 2011 CBDNA National Conference held in Seattle, Washington. The Treasure Valley Concert Band has performed at the Western International Band Clinic and the All-Northwest Music Educators Conference. In March of 2015 the University Symphonic Winds was invited to perform at the 81 st Annual American Bandmasters Association National Convention. During the past five years this ensemble has commissioned and premiered four new works for wind band. A native of Detroit, Michigan, Mr. Brown holds a Masters of Music Degree in Trumpet Performance and Bachelor of Music Education Degree from the University of Michigan where he took conducting classes with Elizabeth Green. He has done doctorial work at the University of Illinois where he studied conducting with Harry Begian, Professor Emeritus of Bands. Mr. Brown has done extensive work as a guest conductor, clinician and adjudicator throughout the United States and has been a guest conductor and presenter at the Midwest Band and Orchestra Clinic. He has been recognized for his work and dedication as an educator at Boise State University as the recipient of the 2002 Excellence In Teaching Award presented by the LDS Student Association, the 2002 Faculty/Staff Larry G. Selland Humanitarian Award presented by the University Women’s Center and one of ten honored faculty to receive the 2003 & 2012 Top Ten Student Scholar Awards. In 2006 Mr. Brown was elected into the American Bandmasters Association. He has served as President of the College Band Directors National Association Northwestern Division (2007-2009). In 2008 he was elected to a two-year term to serve on the board of the National Band Association. Currently Mr. Brown is serving on the selection panel for the National Band Association William D. Revelli Composition Contest and was elected to a second two-year term on the Board of the National Band Association.

2023 Conference Featured Speakers, Performers, & Clinicians

All-State Gold Jazz Band Clinician

Todd Stoll was raised in Springfield, Ohio, where he studied trumpet at the University of Cincinnati's Conservatory of Music, and later came under the tutelage of Vaughn Wiester. Initially focusing on performing, Stoll went on the road performing after graduation. In the early 90s, Stoll became a band director in the Columbus, Ohio area, where he founded the Columbus Youth Jazz Orchestra in 1991 to give young people the chance to cultivate a love of jazz through performance. He directed it for 20 years. Under his direction, the Orchestra released 6 CDs. A longtime friend and colleague of trumpeter Wynton Marsalis, Stoll joined Jazz at Lincoln Center's Education Department in 2011, becoming Vice President of Education. Under his leadership, the education department has expanded its community outreach through band performances in New York City with the Jazz for Young People on Tour program and through educational outreach led by members of the Jazz at Lincoln Center Orchestra while the orchestra is on tour. Stoll also oversaw the creation and launch of the Jazz Academy, an online education site featuring a freely accessible video library of jazz lessons taught by musicians including Eric Reed, Helen Sung, Gary Bartz, and Azar Lawrence.Stoll is an avid fan of Duke Ellington. He calls him "a universal humanist".

All-State Silver Jazz Band Clinician

Saxophonist Dr. Dave Camwell has received wide acclaim for his brilliant technique, poetic expression and innovative programming, with a repertoire that ranges from Baroque to contemporary to jazz. Recently, he has collaborated extensively with Czech saxophonist Kateřina Pavlíková on a series of new works for their group Covert Ensemble. These arrangements focus on creating virtuosic and compelling music for two saxes, cello and piano. He is Director of Jazz Studies and Associate Professor of Music at Troy University in Alabama, and is a Yamaha, D'Addario, Beechler and Key Leaves Performing Artist with over thirty publications available through Jeanne, Dorn and UNC Jazz Press. Camwell studied at the universities of Calgary, Jacksonville State, Northern Colorado and Oregon. He is an active performer and clinician, having been guest artist at over forty universities throughout North America, as well as winning numerous awards, including 2nd-place in the 2000 North American Saxophone Alliance Biennial Jazz competition. He has performed with Norwegian Cruise Lines, at a variety of Jazz festivals, including Montreux and Brienz, Switzerland, and has also toured Taiwan with the Xplorium! Ensemble. Camwell has also performed with the orchestras of Iowa, Minnesota, Pensacola, Des Moines and NW Florida, as well as being a featured soloist with the New York Central City Chorus.

All-State Bronze Jazz Band Clinician

Theo Vernon was the Associate Director of Bands at Grissom High School from 19852018 and as of June 2018 is the Director of Bands. He holds degrees in Saxophone Performance and Music Education from The University of Alabama and a Masters degree from VanderCook College of Music in Chicago. He attained National Board

Certification in 2003 and re-certified in 2013. He was the first band director in the state of Alabama to receive this certification. His Jazz Bands have represented the state of Alabama and the United States at several venues: a two-week Austrian tour celebrating Austria's millennium in June 1996, the prestigious "Essentially Ellington" Jazz Band Festival and Competition in 1999, a performance at the Kennedy Center in Washington D.C. in 2000, one of four U.S. high school jazz bands to perform at The International North Sea Jazz Festival in The Hague, Holland in 2002, and one of 12 bands from across the U.S. to compete in the Swing Central Jazz Band Competition in Savannah, Georgia in 2013, 2015, 2017, and 2020. Vernon has served as a District Chairman and IAJE president for the state of Alabama. Was selected as the Music Educator of the year by the Microwave Dave Music Education Foundation of Huntsville 2019.

All-State Middle School Jazz Band Clinician

Kim Bain recently retired as Director of Bands at Pizitz Middle School in Vestavia Hills, Alabama. Ensembles under her leadership were consistently cited for musical excellence at both the state and national levels throughout her years of teaching. Ms. Bain was named 2012 Teacher of the Year for the Vestavia Hills City Schools. In 2013, her Symphonic and Concert Bands performed at the Music For All National Middle School Music Festival in Indianapolis, Indiana. The John Phillip Sousa Foundation awarded the Sudler Cup to the Pizitz Band program that same year. She was awarded the Phi Bet Mu, Rho Chapter, Outstanding Bandmaster Award in 2014. The Pizitz Band was declared a national winner of the National Band Association’s Blue Ribbon Award of Excellence in 2015, and in December of 2015 her band performed at the Midwest International Band and Orchestra Clinic. Ms. Bain received National Board Certification from the National Board for Professional Teaching Standards in November 2010. She has served as a clinician for the Alabama Bandmaster’s Association and guest conducted numerous honor bands and camps in Alabama, Mississippi, and Georgia. She holds a Bachelor of Science in Music Education, a Master of Arts in Music Education, and an Education Specialist degree from the University of Alabama. She also holds a Master of Music degree in saxophone performance from Bowling Green State University in Bowling Green, Ohio. In addition to her teaching activities, Ms. Bain is an active freelance musician in the Birmingham area, and saxophone instructor at Samford University.

Tri-M National Music Honor Society

students deserve all the opportunities and recognition that Tri­M can help provide.

• Opportunities.

Gives Student Leadership

Greetings Music Friends!

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

How to start a new chapter of Tri­M: https://www.musichonors.com

• Complete and submit and

You need a Chapter Advisor

• activation form

• Fee $100

Pay the Yearly Membership

Benefits of Tri M: Student Run Organization.

•

• Community.

Helps Promote Music in the

Give back to your

• Community through Music. Looks Great on College

• Applications.

Service Opportunities Idea: Food Drive for your local

• food bank.

• Tots or Holiday Toy Drive. Free Music Lessons and

Benefit Concert for Toys for

• Master Classes for younger students.

Concert Ushers.

• Holiday Caroling.

•

Live Music at School Events.

• Talent Show for the

• Community to benefit a charity.

Playing/Singing at nursing

• homes and assisted living facilities.

Performing at Elementary

• Schools/ Instrument Petting Zoos at Elementary Schools.

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

Best Wishes for a fabulous year!

Deanna Marshall, AMEA Tri­M Chair auburnschools.org

Deanna Marshall AMEA Tri-M Chair

AMEA 2023 Clinicians

Dr. Craig Aarhus is Associate Director of Bands and Associate Professor of Music at Mississippi State University. At MSU, he co-directs the Famous Maroon Band and basketball pep bands, conducts Wind Ensemble "B," the Concert Band, and Campus Band, and teaches Conducting and Brass Techniques in the Department of Music. He also currently serves as the area coordinator for Music Education in the department. As a member of the band faculty, Dr. Aarhus has been part of a team that has helped lead the band program to unprecedented growth, making it currently one of the largest band programs in the Southeast. A native of Sylacauga, he holds degrees in music education and conducting from Auburn University and The University of Iowa, respectively.

Kari Adams is Assistant Professor of Choral Music Education at Florida State University. Prior to her appointment at FSU, Adams completed her PhD in music education at the University of North Texas. She began her career teaching middle school choir, general music, and band in Missouri and continues to work with middle school choirs as a clinician. She is a passionate educator, conductor, clinician, and researcher.

Lori Ardovino has been a guest recitalist at a number of colleges and universities and international and national festivals including the International Clarinetfest, The International Alliance for Women in Music Congress, NACWPI , NACUSA ,Southeastern Composers League, the North American Saxophone Alliance Conference, the College Music Society and the Alabama Music Educators. Dr. Ardovino received the 2013-14 Alabama State Council for the Arts Artist Fellowship was chosen the University of Montevallo University Scholar for 2013. She is an active composer and has had her works performed across the United States, Japan, Italy and Canada. Her CD’s include, From A Crack In The Wall-clarinet music by Alabama Composers, Between Walls-saxophone music by Alabama Composers, The LeBaron Trio-works for clarinet, piano and voice, and Saxophone Music by Living Women Composers. She is a graduate of Minnesota State University-Moorhead (BM, BA), Michigan State University (MM) and the Cincinnati Conservatory of Music (DMA). She is an Artist/Clinician with Conn-Selmer Company, D’Addario Woodwinds and is a Fulbright Specialist. Currently, she is Chair and Professor Music at the University of Montevallo where she teaches clarinet, saxophone and woodwind methods and ensembles. She performs with the LeBaron Trio, the Meàllo Trio, the Vinna Trio and the Cahaba Saxophone Quartet.

Dr. Julie Bannerman is an Assistant Professor of Music Education at the University of Alabama, Tuscaloosa. She teaches undergraduate and graduate classes and coordinates the PreK Music Partnership. A former public school music teacher, she specializes in general music education at all levels. Her research and clinical interests include curricular innovation, sociocultural issues in music education, and music teacher education. She is published in the Journal of Historical Research in Music Education, Journal of Music Teacher Education, Bulletin of the Council for Research in Music Education, and Journal of Research in Music Education. She regularly presents research and clinical sessions at regional and national conferences.

Shellie Beeman, Lyric Soprano, serves as Associate Professor of Voice at Jacksonville State University. She earned her D.A. degree in Voice Performance with a secondary emphasis in Speech-Language Pathology from Ball State University under the voice instruction of Dr. Meryl Mantione, mezzo-soprano. The title of her dissertation was “Perceptions of Voice Teachers Regarding the Teaching and Monitoring of Students’ Vocal Behaviors as Students Sing and Speak: Recommendations for Prevention and Rehabilitation within the Voice Studio.” Her passion is Vocal Pedagogy. As a voice technician and vocal health advocate, she delights in merging the gap between voice science, artistic musicianship, and the medical arts. Dr. Beeman is a Certified McClosky Voice Technician through the McClosky Institute of Voice and enjoys working with the voice care team to habilitate injured singers. In 2017 she completed training from the Contemporary and Commercial Music Vocal Pedagogy Institute at Shenandoah University.

David Caddell has taught middle school band in Alabama public schools for eighteen years. He is currently serving at Echols Middle School where he teaches Beginning, Concert, and Symphonic Bands. He holds a BS in Music Education and an MA in Music Education from The University of Alabama. Mr. Caddell currently resides in his hometown of Tuscaloosa.

AMEA 2023 Clinicians

Dr. Conor Bell joined Middle Tennessee State University in Fall 2022 as Assistant Professor of Bassoon. Conor is particularly passionate about championing new music and expanding the bassoon’s repertoire by commissioning new pieces and creating arrangements of existing works for the bassoon or his chamber ensembles. Conor has served as principal bassoon of the Owensboro Symphony Orchestra in Kentucky since 2016 and is also an active chamber musician, currently performing with the Elicio Winds—a flute, oboe, bassoon trio which has performed across the country at various conferences, as well as many local venues focused on community outreach.

A passionate educator and performer, Dr. Kathleen Carter Bell (Tennessee State University) has given masterclasses and performances across the country and abroad. An advocate of new music, Kathleen has received several commissioning grants, including awards from the Alabama State Council on the Arts and the Draughon Center for the Arts and Humanities. Additionally, she recently premiered two works by Afro-British composer Althea Talbot-Howard at the International Double Reed Society Conference (Boulder, CO). Kathleen earned her DM in Oboe Performance from IU and received the Barbara and David H. Jacobs Fellowship, granted for “excellence and leadership in the world of music.”

Maria A. Ellis is a passionate educator and conductor. She is the owner of Girl Conductor LLC, a company that creates diverse music education resources and currently serves as the Director of The Sheldon’s City of Music AllStar Chorus. Maria is an active conductor, clinician, adjudicator and presenter throughout the United States and abroad. She holds a B.M. in Music Education emphasis on Voice (K-12 Certified) Degree from the University of Missouri- St. Louis. She has served as the Arts and Administrative Fellow for The St. Louis Symphony and has served as the Community Engagement Manager for The St. Louis Children’s Choirs. Maria is the host of the Award Winning Show "Bach and Beyoncé'' on Classic 107.3 The Voice for the Arts in St. Louis and is a host for the St. Louis Symphony ``Live at Powell" broadcast. Maria is an active member of the American Choral Directors Association, National Association of Music Educators, Missouri Alliance for Arts Education, where she is chair of the RIDE (Race, Inclusion, Diversity & Equity) Committee and holds Level 3 Certification from the CME Institute for Choral Teacher Education. Maria is the wife of Marion Ellis and the mother of Aria, Kendal and Noah Ellis.

Emily Christine Gray is going into her 7th year teaching, earning her BA from Auburn University (2014) and her MA from the University of Alabama (2016) in Music Education. Currently, Ms. Gray serves as the Associate Director of Bands/Director of Percussion for Tuscaloosa County HS. Ms. Gray has stayed active outside the classroom, giving a presentation (2016) at the Performing Arts Medicine Association on exertion cost rates within collegiate marching band members, working on visual staff with independent drumline “Q2” (2019), and working on drumline staff for the Macy’s Great American Marching Band as the cymbal technician since 2019.

Becky Halliday is an associate professor of music at the University of Montevallo and the director of the University of Montevallo Kodály Institute. Currently, she serves on the Board of Directors of OAKE and the Council of General Music Education for NAfME. She earned her Ph.D. in Music Education from The University of Southern Mississippi and both her MMed and BMUS from The University of Georgia, and holds certifications in the Orff Schulwerk Approach and the Kodály Concept. Her recognitions include the UM College of Fine Arts Distinguished Teacher Award and the AMEA Lacy Powell Outstanding Music Educator Award

Dr. Tim Heath is currently the Director of Athletic Bands and Assistant Teaching Professor of Music at Wake Forest University in Winston-Salem, North Carolina. At Wake Forest, he oversees all aspects of the athletic band program and is a member of the conducting faculty where he serves as the associate conductor of the wind ensemble. Dr. Heath is an active clinician and adjudicator for both concert band and marching band. As a presenter, Dr. Heath has presented sessions and research at both the state and national levels and is published in The Instrumentalist, The National Band Association Journal, and Percussive Notes

Joel Henson is entering his 20th year as an instrumental music educator and is currently President of the Alabama Bandmasters Association. Mr. Henson has served students at both the middle and high school level throughout his career. Mr. Henson is currently serving as the Associate Director of Bands at both Pelham High School and Pelham Park Middle School. Prior to his appointment as President, Mr. Henson previously served as Vice President and Recording Secretary of the Alabama Bandmasters Association. Mr. Henson also served as Chairman of District IV of the Alabama Bandmasters Association. Henson’s professional affiliations include the National Association for Music Education, Alabama Music Educators Association, Alabama Bandmasters Association, National Band Association, Phi Beta Mu International School Bandmaster Fraternity, and Phi Mu Alpha Sinfonia Fraternity. Mr. Henson is also a National Board Certified Teacher. Henson has served as a clinician and adjudicator at events throughout the Southeastern United States. Mr. Henson is a graduate of the University of Alabama receiving both a Bachelor of Science in Education and a Masters of Arts with emphasis in Instrumental Music Education.

Michele Hobizal taught for 31 years in Texas and holds a BME from Texas State University. She is a past conductor of the Katy ISD District Elementary Honor Choir, served two terms as the Texas Music Educators Association Elementary VP, is a Past Elementary VP for the Texas Choral Directors Association, and a cadre member of the Center for Educator Development in Fine Arts. Hobizal currently works for QuaverEd as the Lead Trainer.

Julie Hornstein has been working with management of non-profit Arts Organizations as volunteer, contractor or staff member since 1972. Over the years, she has written dozens of grants for multiple organizations and served as Grants Administrator for three grantmaking organizations as well as serving as a grant panelist. Successful grant applications include those to National Endowment for the Arts, National Endowment for the Arts, Kennedy Center for the Arts, State Arts agencies in Alabama and North Dakota, County and City sources. Most recently, she served as Executive Director for Alabama Orchestra Association, garnering around $50 thousand in funding for events. Her experiences on both sides of the grant inform a unique insight into successful Grantmaking.

John Jacobson is the author and composer of many musicals and choral works that have been performed by millions of children worldwide John is the founder and volunteer president of America Sings! Inc., a non-profit organization that encourages young performers to use their time and talents for community service. John was the Senior Contributing Writer for John Jacobson’s Music Express Magazine and a contributing author to McGraw Hill’s Education Spotlight on Music. Currently, he is the President and Educational Content Creator for John Jacobson’s Music Experience, an online digital resource for teachers providing videos, lessons, music, and musicals.

Sidney A. King’s multi-faceted career as a double bassist, composer and arranger spans over three decades. Since 1992, he has performed at the orchestra of the Grand Teton Music Festival, often serving in titled positions. He has served as principal bassist with the Houston Grand Opera, the Texas Opera Theater, the Sunflower Music Festival, and the Des Moines Metro Opera, and has performed with the symphonies of the Detroit, Cincinnati, Houston, Pittsburgh, Indianapolis and Nashville, as well as as the Louisiana Philharmonic and the St. Paul Chamber Orchestra. He held the position of assistant principal bassist of the Louisville Orchestra from 1984-2006. As a recitalist, Mr. King has presented solo performances at universities and conservatories throughout North America. Recent performances include recitals at the University of Minnesota, University of Tennessee, Loyola University, Ohio University, and the University of Costa Rica in San Jose

Jane M. Kuehne, Ph.D., holds bachelor’s and master’s degrees in Music Education from University of Texas at San Antonio (UTSA), with lifetime teaching certification in Texas in All-level Music and Secondary-level English, Reading, and Language Arts, and a Ph.D. in Music Education from Florida State University. She is in her 18th year as a music education faculty member in the College of Education (COE), Curriculum & Teaching Department (C&T) where she teaches undergraduate and graduate music education courses and supervises field work and graduate research. She is a founding/continuing member of the editorial board for the Journal of the Association for Music Technology Instruction and serves as the AMEA Research Chair. Dr. Kuehne has been recognized as Outstanding Alumna at UTSA, and her hometown high school (Georgetown, Texas), and was recently recognized as an Outstanding Graduate Mentor at AU, an award nominated and selected by AU graduate students. She has a cat (“Daisy-cat”) who is quite a character, often making unexpected appearances during online meetings and synchronous distance class meetings.

AMEA 2023 Clinicians

Sandy Lantz and Gretchen Wahlberg taught music in Fort Myers, Florida since 1982. They have taught sessions at MEAs across the US, as well as, OAKE, AOSA national conferences, and local Orff chapters. Together, they have conducted all-county performance in several Florida counties and the inaugural all-state Orff ensemble in 2016. Both Sandy and Gretchen were National Board Certified teachers. Together they have authored the books: Drum It Up, Creative Bits with Children’s Lit, Strum It Up and S’More Bits with Children’s Lit and most recently, Mixing It Up.

Melissa R. Life is currently the Instructor of Choral Music Education at the University of Alabama. She has taught in the public schools for twelve years in West Virginia and two years in Florida. Choirs under her direction have performed throughout the United States and Canada, receiving superior ratings. In 2011, Ms. Life’s chamber ensemble performed at Lincoln Center in New York City under the direction of Eric Whitacre. Currently, Ms. Life is a Ph.D. Candidate in Music Education at the University of Florida where her research has focused on creating authentic assessments and investing in rural music education.

Ian Loeppky has been Professor and Director of Choral Activities at the University of North Alabama since the fall of 2003. He directs the two elite choral ensembles at UNA and teaches undergraduate and graduate choral conducting, choral techniques, world music, and graduate choral literature. In addition, he is founder of the Florence Camerata, Artistic Director of the Huntsville Community Chorus Association, and a frequent contributor to the ACDA Choral Journal and Anacrusis. His works are published by Kelman Music Press, Santa Barbara Music Publishing, UNC Jazz Press, and Carl Fischer. Under his direction, the UNA Chamber Choir and Vocal Jazz Ensemble sing regularly at local and regional concerts, festivals, and conferences. He has been a student of Zen practices with Zen Master George Bowman for fifteen years.

Dr. Brenda Luchsinger is an Associate Professor of Music at Alabama State University in Montgomery, AL, where she teaches horn, music theory and aural skills courses, and brass methods. She earned the degrees, BM in Applied Horn and Instrumental Music Education from the University of Wisconsin–Stevens Point, MM in Horn Performance from the University of Florida, and DMA in Horn Performance from the University of Alabama. Dr. Luchsinger currently holds positions with the Tuscaloosa and Montgomery Symphony Orchestras, Sinfonia Gulf Coast (Destin, FL), and performs frequently with other orchestras and chamber ensembles throughout the southeast. In addition to an active performance schedule in the United States, she has also performed in Australia, Japan, Singapore, Russia, Spain, France, Norway, Sweden, Denmark, and Canada. She is a frequent lecturer, having presented at many regional workshops, state and national conferences, and international horn symposia. Dr. Luchsinger is also in high demand as an adjudicator, working with many local, regional, and international competitions, including the 2022 International Horn Competition of the America. Dr. Luchsinger serves as the International Horn Society’s Area Representative for Alabama, and as News Editor for The Horn Call. Her teachers have included Charles “Skip” Snead, Paul Basler, Patrick Miles, and Michael J. Arendt.

Morgan Luttig serves as the Director of Choral Activities at the University of Alabama. Prior to her appointment, Luttig studied at Florida State University where she earned an Outstanding Graduate Teaching Assistant Award. Luttig began her teaching career in K-12 choral and general music education in Savannah, GA. She is recognized for her service to the American Choral Directors Association, most notably as Honor Choirs Chair for multiple Southern Region conferences. Luttig earned her Ph.D. in Music Education (Choral Conducting) from FSU, M.M.E. (Choral Emphasis) from Westminster Choir College, and B.A. in Music from Washington and Lee University.

Erin Lyon began her teaching career in 2007 and is currently the Associate Director of Bands at Simmons Middle School. Prior to Simmons, Mrs. Lyon held positions at Zion Chapel High School, Clay-Chalkville Middle School, and Leeds Middle School. Bands under her direction have consistently earned superior ratings at the Alabama Music Mrs. Lyon earned a Bachelor of Science Degree in Instrumental Music Education in 2007 and a Master of Science Degree in Instrumental Music Education in 2010 from Troy University. Mrs. Lyon also earned her National Board Certification in the area of Early Childhood Music Education in 2018. In 2021, Mrs. Lyon was named the Leeds City Schools/Leeds Chamber of Commerce Teacher of the Year. Mrs. Lyon is a veteran soldier musician of the Alabama Army National Guard. She performed on oboe, English horn, piccolo, and was a vocalist for the 151st Army Band based out of Montgomery, Alabama. In addition to serving in the military, Mrs. Lyon is a member of Alabama Winds, and also performs at many churches around the state. Mrs. Lyon has a private oboe studio and teaches young oboists throughout the Birmingham area. In her spare time, she enjoys backpacking, hiking, and the outdoors with her family. Mrs. Lyon is married to Wade, who teaches special needs children and also owns a local deck building business. They have two beautiful children together, Wyatt (6) and Virginia Grace (4).

Andy Meadows (MFA 1994) founded the Booker T. Washington Magnet School Photography program in 1995 at the then Carver Creative and Performing Arts School in Montgomery. Meadows now works as Arts Education Specialist for the Alabama State Department of Education where he distributes grants to schools and works to improve arts education in Alabama. (https://art.ua.edu/loupe/teaching-legacy-passed-to-next-generation/)

Jenney Merritt is the Director of Bands at Discovery Middle School in Madison, Alabama. She holds a bachelor’s degree in Instrumental Music Education from The University of Alabama and a master’s degree from American Band College in Ashland, Oregon through Sam Houston State University. Throughout her eleven year teaching career, Jenney has also served as a band director at Madison County High School, Central School and Madison County Elementary in Gurley. Jenney was selected as Teacher of the Year for Discovery Middle School and the Madison City School district in 2019-2020. Her bands routinely receive superior ratings and accolades at competition. Jenney currently resides in Madison with her husband, Matt, their beautiful daughter Lane and golden retriever, Rigby.

Dr. Cory Near currently serves as Visiting Assistant Professor of Music and Director of Bands at Luther College in Decorah, IA. His duties include conducting the Luther College Concert Band and Symphonic Band. Outside of the rehearsal room, he also teaches courses in conducting and rehearsal methods. As a conductor, Dr. Near has had the opportunity to work and collaborate with composers Michael Daugherty, Joel Puckett, Joseph Schwantner, Anthony Plog, Jennifer Higdon, Steven Bryant, Bob Becker, Scott Lindroth, and Jack Stamp. Additionally, he worked with “The President’s Own String Quartet” and Joel Puckett on his Short Stories while studying at Temple University. Dr. Near received his Doctor of Musical Arts degree from the University of Minnesota - Twin Cities (Minneapolis, MN), under the tutelage of Dr. Emily Threinen. He also holds a Master of Music degree from Temple University (Philadelphia, PA), also under the tutelage of Dr. Emily Threinen. His undergraduate degrees are both from The Ohio State University (Columbus, OH), where he studied music education and tuba performance with Jim Akins, Principal Tuba - Columbus Symphony.

Dr. Diane Orlofsky recently completed her 36th year of teaching at Troy University where she also worked as the Director of Choirs (2006 -2022). She currently serves as the Graduate Music Advisor for the Long School of Music in addition to her role as part-time music teacher educator (following her retirement in June of 2022). Orlofsky was the first recipient of the AMEA Lacey Powell Outstanding Music Educator award (2016) and she remains an active clinician, conductor, adjudicator and researcher. She is currently writing a third book which focuses on the archival collection of Jerome Bruner at Harvard University.

Emily Parker is the Director of Bands at Hampton Cove Middle School in Huntsville, Alabama. She holds a bachelor's degree in Music and a master’s degree in Music Education from Samford University. Over her twelve years of teaching, Emily has also directed and developed bands at Riverton Intermediate, New Market School, Discovery Middle School and Buckhorn Middle School, where she was chosen as Teacher of the Year in 2013. She has recently served as District I Chairman for the Alabama Bandmasters Association. Emily regularly performs in several area ensembles including the Brass Band of Huntsville, Redstone Brass, Twickenham Winds, Magnum Tuba Quartet and First Baptist Church Orchestra.

AMEA 2023 Clinicians

Brandon Peters is in his fifteenth year as Director of Bands at Hewitt-Trussville Middle School, and his sixteenth year of teaching. He was named Teacher of the Year for Trussville City Schools in 2019 and 2013. He holds a BS in Corporate Finance, a BS in Music Education, and a MA in Music Education, all from the University of Alabama. Mr. Peters is a native of Jasper, Alabama.

Meredyth Petersen is the Director of Bands at Fairhope High School in Fairhope, Alabama where she conducts the Wind Ensemble, Concert Band and directs the Fairhope High School Buccaneer Band and her bands consistently receive Superior ratings. Mrs. Petersen was elected to membership in the American School Band Directors Association in June 2017. Mrs. Petersen currently serves as the District Chairman for District VII of the Alabama Bandmasters Association. She is active as a guest conductor and clinician of bands throughout the state of Alabama. In October of 2021, Mrs. Petersen was the recipient of the Golden Apple Award presented to teachers of excellence. From 2013-2018, Mrs. Petersen served as Director of Bands at Gulf Shores Middle School where she was named Teacher of the Year in 2017. She received her Bachelor of Arts in Music Education from Virginia Tech in 2007 and her Masters of Music Education from the Jacobs School of Music at Indiana University in 2013.

Kristin M. Pugliese has been an educator for more than 15 years. She began her career in early childhood education and soon moved into the music classroom. She has worked almost exclusively in Title 1 Schools in various states including Rhode Island, Georgia and Massachusetts. As part of the Music Department Leadership Committee, she helped create music standards for the Cambridge Public Schools System.In 2009, Kristin founded Note Knacks Music, LLC. Following the 2009-2010 school year with Fulton County Schools (GA), she decided to focus full-time on the company. Kristin is passionate about how knowledge is acquired and believes it impacts how children will view learning later in their lives. Following her beliefs, Note Knacks is dedicated to providing music educators with the tools needed to make music more accessible for young children.

Tucker Ratcliff was appointed Choral Director at Grissom High School in July 2017 after receiving his Bachelor of Music degree in Choral Music Education from the University of Montevallo. Presently, Ratcliff works with the Women’s, Men’s, and Concert Choir, alongside the top auditioned ensemble, the Chamber Choir. Under his direction, ll 4 choirs have never received below Superior and Excellent ratings at State Choral Performance Assessment. During his tenure as director, Grissom Choir has performed alongside the Huntsville Symphony Orchestra, on the Carnegie Hall stage, and is slated to make its international, European debut performance in Vienna, Olomouc, & Prague in the Summer of 2023. Outside of the Choral Department, Ratcliff has serves as the Music Director and Orchestra Conductor for the Grissom Fine Arts Musical Theatre Department & Ars Nova School of the Arts, where he teaches vocals to cast members, and rehearse/directs the orchestra in the pit during rehearsals & performances for shows such as Chatty Chatty Bang Bang, Tuck Everlasting, The Light in the Piazza, and more.As a member of many regional, state, and national organizations, including: NAfME, AMEA, AVA, and ACDA, Ratcliff currently serves as Treasurer for the Huntsville Choral Directors Association (HCDA). Mr. Ratcliff gets his zest for life and his inspiration for music from the great outdoors. His favorite ways to fulfill this need include hiking, biking, and camping with his wife, son, and family. He finds that this cycle of taking in the natural world and putting it into the music he loves continuously propels him towards new heights

Dr. Megan Rudolph is in her 29th year of teaching choral music. Her teaching experience includes teaching all ages and all types of choral ensembles. Currently she is the Director of Choral/Vocal Studies and Music Education at Miles College. Prior to 2021 Dr. Rudolph was the choral director at Vestavia Hills High School where she oversaw ten choirs. Her choirs consistently received superior ratings at state, regional, and national festivals. Choirs under her direction have performed at the ACDA National Conference (2019), Alabama State Music Educators’ conference (2019, 2015), and the Choir Nationals for Top Choirs in Carnegie Hall (2017, 2015). Dr. Rudolph is an active presenter, adjudicator, and mentor to young teachers. She is Nationally Board Certified (2013, 2003) and Orff Level I Certified. She has served as the ACDA Southern Division R&R for Vocal Jazz, and is Past President of Alabama ACDA. Additionally, she is a dedicated wife and mother of four children (Alexis 14, Austin-12, Zach-10, and Max-7).

Dr. Kristofer Sanchack serves as Assistant Professor and Director of Choral Activities at Alabama State University, where he conducts multiple choirs and teaches musicianship courses. Dr. Sanchack’s wide-ranging musical career began with his study of piano, where he rapidly progressed to study with Curtis Institute of Music mainstay, Freda Pastor Berkowitz. He continued pursuing music with a BM in Composition with Honors and High Distinction from Pennsylvania State University. While at Penn State, he accompanied and performed with six different choruses, including the women’s, men’s, and mixed choruses, as well as the State College Choral Society. He holds an MM in Choral Conducting from the University of South Carolina, where he received an assistantship in accompanying, and a DM in Choral Conducting at Indiana University. Dr. Sanchack served as Director of Youth and Children’s Music at Second Presbyterian Church in Indianapolis, and as the Keyboard Artist for the Indianapolis Symphonic Choir. Dr. Sanchack has led choral music at several universities, including Brevard College, Hollins University, the University of Indianapolis, Indiana University-Purdue University Fort Wayne, and Trine University. As a pianist, Dr. Sanchack has appeared with the Asheville (NC), Greenville (SC), Montgomery (AL), and Indianapolis (IN) Symphony Orchestras, and continues to be in demand as a soloist and accompanist around the United States. He is also the current accompanist for the statewide chorus, Melody Makers of Indiana.

Leah Seng is in her twelfth year at Pizitz Middle School, and her twentieth year of teaching. She was named Teacher of the Year for Pizitz Middle School in 2018 and Rotary Teacher of the Year in 2017. She holds an M.M.E. from the University of Georgia and an Ed.S. in Music Education from the University of Alabama. She is also a board member and clarinetist in the Alabama Winds.

Dr. Scott Sexton is on the music faculty of the John M. Long School of Music at Troy University, where he conducts several choral ensembles and teaches music education courses. Prior to this position, he taught elementary music and secondary choral music in the public and private schools of Mississippi. He earned his degrees from Troy University (B.M.E.), the University of Mississippi (M.M.), and Auburn University (Ph.D.). Additionally, he completed Kodály Certification at the University of Oklahoma. As a recipient of the Denise Bacon OAKE scholarship, he studied at the Kodály Institute in Kecskemét, Hungary. He has been praised for his innovative teaching and command of musicality in the choral classroom. He has taught and performed throughout North America, Europe, and Africa.

Dr. Jimmy Simpson received his Doctor of Arts and Master of Music Degrees from the University of Mississippi, and his Bachelor of Music Education Degree from the University of Southern Mississippi. His 44 years as a music educator includes teaching band in Union Mississippi and Canton, Mississippi for seven years and serving as a graduate assistant at the University of Mississippi for three years. He joined the music faculty at the University of North Alabama in 1973 where the taught music education courses and served as UNA Music Department Chair for 33 years. Dr. Simpson is a charter member of the Shoals Area Big Band (established 1980), and plays lead alto saxophone and clarinet. Dr. Simpson has served as President of the Alabama Music Educators Association and President of Rho Chapter of Phi Beta Mu. In 2008 he was inducted into the inaugural class of the Alabama Music Educators Association Hall of Fame. He has been listed in Outstanding Educators of America, Outstanding Young Men Of America and Who’s Who Among American Teachers. Dr. Simpson has been elected to a number of professional honor societies, including Omicron Delta Kappa, Pi Kappa Lambda and Phi MU Alpha Sinfonia

J. Nick Smith is Assistant Professor and Associate Director of Bands and Director of Athletic Bands for the School of Music at Eastern Michigan University. He conducts the Symphonic Band, teaches courses in Music Education, and directs the “Pride of the Peninsula” Marching Band and Basketball Pep-Bands. Smith holds advanced degrees from University of Minnesota (Doctor of Musical Arts, Wind Band Conducting) and the University of Michigan (Master of Music, Wind Band Conducting). His primary conducting teachers were Emily Threinen and Michael Haithcock. As an experienced public-school educator, Smith served a total of six years at Hillcrest High School in Tuscaloosa, Alabama. The Hillcrest Wind Ensemble received all “Superior with Distinction” ratings at all Music Performance Assessment events, was invited to perform at several local and national festivals, and had the highest number of students in the history of the band program selected for the Alabama All-State Festival. Smith earned a Bachelor of Music Education degree from Auburn University, where he was named the “Outstanding Undergraduate Student in the College of Education.” He served as Head Drum Major for the Auburn University Marching Band and principal trumpet of various ensembles, he was also President and Treasurer of Kappa Kappa Psi,and Founding President for the student chapter of the National Band Association. Smith is an active member of the College Band Director’s National Association (CBDNA), Life Member of Kappa Kappa Psi, and Honorary member of Tau Beta Sigma.

AMEA 2023 Clinicians

Tiffani Stricklin, National Board Certified Teacher, is in her 20th year teaching elementary general music. Currently, she teaches Pre-K through fifth grade at McAdory Elementary School in Jefferson County. Mrs. Stricklin earned a B.M. of Music Education from University of Montevallo and MAEd in English as a Second Language from University of Alabama at Birmingham. She holds Kodaly certification through the University of Montevallo and Orff-Schulwerk certification through Samford University. Stricklin has participated in Resource Development Summits with the Alabama Learning Exchange (ALEX) and presented at local and state conferences. In her free time, she enjoys spending time with her family, Bryan and Mia, and their three dogs.

Leigh Thomas (Winfield, AL) received undergraduate (2010) and graduate (2012) degrees from the University of Alabama, where she was drum major of the Million Dollar Band, a percussionist, and a graduate teaching assistant. She arrived at Bob Jones HS in 2012 (Assistant Director) and transitioned to Director of Bands beginning 2015. In this time, BJHS has performed three times at the Alabama Music Educators Association Conference. She performs with the Alabama Winds, who have been a performing ensemble at the Alabama Music Educators Association Conference (2015 & 2019), the Midwest Band & Orchestra Clinic (2017), and the Western International Band Clinic (2021).

Lindsey Underwood, director at Northridge Middle School, has taught middle/high school band, choir, musical theatre, private voice/instrument lessons for 11 years. She obtained her Bachelor of Music Education from the University of Montevallo in 2010. She is the Music Director at First United Methodist Church in Montevallo and plays trumpet in The Alabama Winds (2017 Midwest Band & Orchestra Clinic guest ensemble). She’s active in NAFME, AMEA, ABA, the League of Women Band Directors, and Alpha Delta Pi Sorority. She enjoys fitness, the outdoors, reading, and spending time with her husband B.J. and their dogs, Andy and Ollie.

Dr. Mark J. Walker serves as Director of Bands and Professor of Music at Troy University where he conducts the Troy University Symphony Band, the nationally renowned “Sound of the South” Marching Band, teaches graduate and undergraduate courses in conducting, marching band techniques, measurement and evaluation, and wind literature In addition to his teaching duties, Dr. Walker serves as Chairman of the Southeastern United States Clinic and Honor Bands, Executive Director of the Middle School Southeastern United States Band Clinic and Honor Bands, and is the Director of the “Sound of the South” Summer Music Camp and Director’s Clinic. He also serves as Co-Chair of the National Band Association’s Hall of Fame of Distinguished Band Directors. Dr. Walker is a published author, whose articles appears various music education publications and is the editor of the book The Art of Interpretation of Band Music published by GIA. He is a contributor to The Euphonium Source Book, published by Indiana University Press. Additionally, Dr. Walker is the Associate Editor of the Journal of Band Research. Dr. Walker is an elected member of the prestigious American Bandmasters Association. His past and present professional affiliations include Phi Beta Mu, CBDNA, National Band Association, NAfME, Alabama Music Education Association, Alabama Bandmasters Association, Kappa Kappa Psi, Phi Mu Alpha, Kappa Delta Pi, Phi Delta Kappa, Tau Beta Sigma, Sigma Alpha Iota, Texas Bandmasters Association, and World Association of Symphonic Bands and Ensembles. Dr. Walker is married to Jessica Walker, who teaches sixth grade at Goshen Elementary, and resides in Troy with their daughter, Emily.

Soprano Sarah Wee is an Assistant Professor of Voice at Troy University where she teaches private lessons, vocal pedagogy, diction, and directs the Opera Workshop. Dr. Wee also enjoys a career singing recital, concert, and operatic literature. Dr. Wee received her Doctorate of Musical Arts in Vocal Performance and Vocal Pedagogy at the Frost School of Music at the University of Miami, where she later served as a lecturer in the voice department. She graduated from Webster University with a Bachelor’s Degree in classical voice performance and earned a Master’s Degree in vocal performance from Washington University in St. Louis.

Alex White is the Director of Bands at Murphy High School in Mobile, Alabama. At Murphy, he teaches Symphonic Band, Marching Band, Jazz Band, and Percussion Ensemble. In addition to performing ensembles, he teaches AP Music Theory, International Baccalaureate Music, and Dual Enrollment Music Appreciation through Bishop State Community College. He received his Bachelor's of Music in Instrumental Education from the University of South Alabama where he is currently working on his Master of Music degree. During his time at the University of South Alabama, he participated in various ensembles and organizations including the Wind Ensemble, Percussion Ensemble, and the Jaguar Marching Band where he received the Thomas Finch Leadership Award. He currently resides in Mobile, Alabama with his wife Lennon.

Justin White is Assistant Director of Bands at the University of Alabama. He attended the University of Alabama and was a Master’s Conducting Associate at the University of North Texas, where he earned a M.M. in Wind Conducting with a related field in Music Education in 2014. While at UNT, he was a conducting student of Nicholas Enrico Williams, Dennis Fisher and Eugene Migliaro Corporon. In 2020, Mr. White was selected winner in The American Prize conducting competition for winds and outstanding young band director by the Alabama Chapter of Phi Beta Mu.

Dr. Tracy Wiggins is Assistant Director of Bands and coordinator of the percussion program at the University of North Alabama. He holds the Doctor of Musical Arts degree from the HARTT School, University of Hartford, the Master's Degree in Percussion Performance from the University of New Mexico, and the Bachelor of Music in Music Education from Oklahoma State University, as well as post-master's work at The Ohio State University.

Allison Wilkinson is the CEO and Founder of the I Am School of Music and the Making Musicians Training Program. Each year, she teaches the tools of Applied Music Psychology to music educators from around the world, from Australia to Zimbabwe and everywhere in between. A veteran teacher with more than 15,000 hours of direct teaching and many more in research, Allison is also the mother of four children and the favorite aunt of fifteen more.

Originally from Chicago, mezzo soprano Gretchen Windt has performed with companies including Sarasota Opera, Utah Opera, Ohio Light Opera, Cincinnati Opera, Opera Southwest, Chesapeake Chamber Opera, and Opera Idaho. She has performed roles including Hansel (Hansel and Gretel), Cherubino (Le Nozze di Figaro), Prince Orlofsky (Die Fledermaus), Dorabella (Cosi fan tutte), Meg Page (Falstaff), and Rosina (Il barbiere di Siviglia). She has degrees from the University of Utah, the University of Cincinnati-College Conservatory of Music, and North Park University. Currently, she is the Director of Vocal Studies and Associate Professor at the University of North Alabama. For more information: www.gretchenwindt.com

Dr. Anne C. Witt teaches Music Education and Strings at the University of Alabama. She taught middle and high school strings/orchestra every day for 15 years in Austin, Texas, leaving a lasting legacy of achievement. Based on the foundation of her successful secondary teaching, Dr. Witt has taught at the collegiate level for the past 25 years. Her degrees were earned at the University of Alabama and the University of Texas at Austin. She is the author of A Rhythm a Week, a supplementary method for band and strings classes. After returning to her hometown in 2003, she organized a community initiative to fund the start-up of a strings program for the Tuscaloosa City Schools. After 17 years, over 2000 students have participated, and several alumni have become music teachers. There are five full-time teachers in all middle and high schools, and the program has served as an inspiration for other school districts. Dr. Witt is a frequent presenter at AMEA, focusing on practical topics in the “use it on Monday” category. She continues to be active in the public schools as observer/supervisor of UA students, guest conductor and mentor teacher.

Michael S. Zelenak PhD is Associate Professor of Music and Coordinator of Music Education at Alabama State University where he teaches graduate and undergraduate courses. He earned National Board Certification teaching chorus, strings, keyboard, guitar, and general music in Pinellas County, FL. He serves on the editorial board of NAfME’s Music Educators Journal, the Florida Music Educators Association’s Research Perspectives in Music Education, and is past-president of the Alabama Music Educators Association’s Higher Education Division. His research appears in Journal of Research in Music Education, Bulletin of the Council of Research in Music Education, and Music Education Research International.

A Beginners Guide to Teaching Improvisation!

Dr. Andy Nevala, Director of Jazz Studies, Jacksonville State University

So you’ve started your jazz band, and are reading through a few charts to get things going, and come up to the section where it says “Solo”. How do you teach improvisation to the kid who wants to do it, is trying to improvise on his own, but doesn’t really know what to do or where to look? Just like with learning a new language, you need to start with the building blocks of the language of Jazz Improvisation.

Listening: Listening to GOOD jazz is one of the most important single factors needed to develop one’s jazz improvisational talents. You have to know what jazz is supposed to sound like, to be able to play it, just like you need to know what a language is supposed to sound like in order to speak it. Start with the “Kind of Blue” album by Miles Davis. Very accessible to the young and old listener alike, and one of the greatest jazz CDs of all time.

Music Theory: Music Theory makes up the nuts and bolts of Jazz Improvisation; you have to know what the chord symbol means, which notes are in the chord, the scale that goes with each chord (there is always more than one right answer), and the notes in the scale that will sound good. An F7 chord can mean F Mixolydian, F Bebop, F Blues, D Blues, F WholeTone, B Locrian, F diminished (whole-half), F diminished (halfwhole)……the possibilities are endless! To get the concept of “playing changes”, start by “showing the 3rds”. Only play the 3rd of each chord as it happens in the song. This helps in thinking and hearing beyond the root of each chord. Move on to 7ths, then 9ths. The 3rd and 7th determine the quality of each chord, so getting a solid understanding of those is vital.

transcriptions! So many solos have been written out and put out there for public access, it’s easy to get your hands on one or five that are the same songs you are working on. Use them like a classical player uses Etudes!

Professor Chris Kozak, Director of Jazz Studies, Instructor of Double and Electric Jazz Bass, University of Alabama

One of the scariest questions you can ask a student member of any Middle School, High School, or College level Jazz Band is, “Do you want to take a solo on this tune?” I’d be willing to bet those of you that have posed that question to your bands, that at least one or two students would be jumping out of their seats to play while the remainder would be fixing stuck valves or keys, rummaging through their mute bag, fiddling with their amp, shuffling through their music…really anything to avoid eye contact and keep from having to improvise. It’s anxiety-inducing, especially for students that haven’t been encouraged or even exposed to it. Not every student has that creative desire to solo on their instrument and instead only wants to be a part of the greater entity. It’s here I feel like we are missing an opportunity: the opportunity to let students know that they have something to say musically and that their voice matters.

How to Practice Improvisation: I prefer practicing along with the original recording, to pick up rhythmic, harmonic, and melodic tendencies and the multitude of other things that aren’t on the page. The Real Books serve as a guide, but the real knowledge is in the recordings. I also use the IReal Pro app, but there are also many play-alongs and free YouTube tracks to play along to.

The greatest help for practicing improvisation is playing along with transcriptions, and even making your own

As music educators, I believe it is our responsibility to help prepare our students for as many musical scenarios as possible so they are best equipped to succeed, and learning to improvise daily should be included in that process. While some programs in our state are further along than others, we are all in the same boat when the students that don’t improvise can be left out except to play the written parts we hand to them. As my colleagues have stated and so wonderfully provided exercises for reference to use with your students, there are resources available that students use such as Aebersold Play-Alongs, transcription books, and pattern books. Those are helpful but are only ingredients in the recipe and can be quite confusing without live examples to hear. Listening to the masters on recordings is something we stress over and over and is one of the most crucial parts of learning to improvise as it provides information and a resource that they can actually try to incorporate into their own playing through imitation. One aspect that we should not forget to encourage is, to put it quite simply: just play. They need to just play their instrument.

At this point, you may be thinking, “Thanks for the tip, Captain Obvious.” Maybe you are giving them the opportunity in your bands, but some just still aren’t interested in doing it. In the process of learning to improvise, especially if they haven’t done it before, they must learn to fail. FAIL. Yes, for them to

Dr. Andy Nevala, Chris Kozak, Dr. Dave Camwell, Dr. Stephen Roberts

create, and TRULY create from the heart, they must FAIL, over, and over, and over. And over. That’s a hard pill for many of them to swallow. They must learn not to be fearful of failure but to embrace it as a stepping stone to their next goal. With each chord change they think they play a wrong note, there is always another to play something they might like. They must be reminded they are failing in a safe place where they will be supported by others who may also be failing as well but doing better not showing it. Failing in this scenario occurs when attempting to improvise over chord changes at home, in the practice room, or in a band rehearsal. Through these failures, there will be successes. Success such as playing something that actually sounds “good” to their ear. Something that “makes sense” over the changes. Something that sounds closer to “Jazz.” Not many at first, but a few. Continued support, practice, and the sharing of quality information with them will over time, hopefully, increase their rate of success. Success at this point is actually just doing it. Just playing over changes, the blues, a single chord repeatedly in front of their peers. They are their own worst critics in this fragile cycle and it is easy to lose motivation to do it but we must remind them it is not something learned overnight and comes with commitment and drive. With those successes will come confidence and with confidence will come a student that raises their hand to take a chance soloing on a tune they wouldn’t otherwise attempt. Most importantly, a student may ask a question like, “How can I do this better?” Half of that is just DOING IT.

I have long said that a certain tennis shoe and sneaker company owes me money for telling my students to “JUST DO IT.” Don’t worry, I won’t sue them. We are trained to carefully think about the things we do and say about performing on our instruments but it can also be a roadblock to creativity. By the time we are thinking about practicing something, time has passed. Maybe it was 38 minutes ago you said you wanted to practice but still haven’t gotten off the couch and are watching the 8th episode of <insert popular sitcom rerun here> in season 9 where they ask, “Why can’t they just play the right notes!?!?” You’re letting the time pass you by. Pick up your horn/axe/instrument and PLAY. Encourage your students to do it. By “play” I don’t mean just technical practice in scales, etudes, All-State audition material, but something they hear in their head. It can be from a popular tune they like, or a section from a solo they listened to. Something they HEAR. W.B. Mathieu wrote an article in a music journal many years ago titled, “Touch What You Sing.” It was an exercise in connecting the notes with what we hear with the instruments we play. If we are feeding our ear with the music we are attempting to play, we need to make that connection in transferring it to our instruments. That is another reason why listening is so important as an ingredient in the recipe for improvisation. It gives us material we can draw from.

One last thing I’d like to mention is, that while note choice is obviously an important place to start, we cannot forget the concept of “feel” as it relates to swinging rhythms. One of

the best resources I share with my students in our bands and combos is the Jamey Aebersold “Free Jazz Handbook” available free of charge on his www.jazzbooks.com website. The excerpt from page 29 is an excellent catalyst for getting your students to learn how to play swing rhythms and create phrases based on simple patterns. I encourage you to explore what the handbook has to offer and as always, feel free to reach out to me or any of my colleagues in this article if you are interested in our take on the information. Again, when getting your students to start improvising it starts at JUST PLAY! ...And don’t forget to have FUN...did I mention that?

Dr. Dave Camwell, Director of Jazz Studies and Saxophone, Troy University

Improvisation is one of the most important parts of the entirety of jazz. Yes, there are stylistic elements, articulation patterns, sound concepts, etc., but what really makes something “jazz” as opposed to simply “jazzy” is the aspect of improvisation. It is creatively liberating, allows for exceptional personal expression, and is directly connected to the soul of this music. Learning how to solo well is made up of several different skill sets, including creativity, rhythm, harmonic knowledge and awareness, sound concept, and how to interact with those that you are playing with. That’s a lot of stuff - no wonder it can sometimes be intimidating! So how to begin when the safety of the written-out notes vanishes, and you are needed to fill the gap with your own notes?

The first thing to do is to have an idea of what jazz should, would, and could sound like. There is such unfettered access to jazz of all types easily found on the internet. Even a

quick google search can help you discover artists that you may love, and coupled with some sage advice from your teachers, you’ll soon begin absorbing the sounds of jazz. Music is often described as a language, and without hearing it spoken proficiently, it will be more difficult to shape your performances in a way that is genuine to the jazz tradition.

For beginning students, I often suggest they first use a stone-soup type approach, in that they begin with simple rhythms while choosing notes from the 1-3-5-7 arpeggios that define the harmony. These notes highlight and simplify the most important harmonic aspects. Below is a series of steps that will increase harmonic identification and accuracy.

To begin, pick a familiar form, such as the blues. It is helpful to use a play-along (such as a CD by Jamey Aebersold, iReal Pro, or many available backing tracks on YouTube) to hear the changes and remain rhythmically consistent. A first exercise is relatively simple – play the roots of the chords in time with the music. When mastered, play the third, then fifth, and then seventh of each chord as a whole note. This will help to reinforce your practical knowledge of jazz chords. Many students have a debilitating pause when seeing a chord such as C7. By the time the student can identify which note is required, the chord has passed by due to the tempo! Using a program such as iReal Pro can be quite helpful due to its ability to set the tempo to whatever is needed.

The next step is to incorporate full arpeggios in a bottom-up manner which is shown in the example. Play through the chord progression that first reinforces the root position chord, and then the three other inversions. Only go on to the next inversion when you have thoroughly mastered the previous step.

playing notes of the arpeggio, but seek to minimize the amount of movement between notes. As shown in Example 3, the Bb in the first bar (the 7th of C7) falls just a half-step to A (the 3rd of F7). It is this ideal movement of a semitone or whole-tone that will ultimately make your note movement sound smoother, although a jump of a third is sometimes needed. Notice that to make the lines both more interesting and realistic, large jumps are typically found between strong beats (1 and 3) and weak beats (2 and 4) to facilitate a smooth resolution to the next chord.

As many chords share notes that simply change their respective function in the chord, it is also possible to stay on the same note. While this is certainly acceptable, it is not the best way to identify a different chord, so where possible, play lines that move to different notes. As your skills progress, you will essentially be creating bass lines. Line three in Example 3 shows the progression of how these connecting arpeggios effectively form a bass line that makes up the harmonic movement and identity of the chord changes. Line four in Example 3 includes occasional chromatic passing tones that help to fully realize the bass. As before, only move to the next line when you have mastered the previous one!

The next exercise focuses on a smooth transition between chords. Start at the whole-note level and practice

The last step is to add rhythm, syncopation, and creativity to your growing technical prowess. The helpful aspect of this series of exercises is that they apply to many different chord progressions typically found in standard jazz. For example, once you have mastered the chords of a C Blues, applying the same harmonic process will assist you when you find similar chords in standard tunes. After a few weeks of dedicated practice of a variety of standard tunes, your harmonic language will be strengthened, creating solos that will be more

imaginative and of the harmonic jazz tradition. Obviously, this is just a starting point on the road to truly creative and meaningful expression, but it is an essential element that all of the great masters of jazz have internalized before further developing their own musical voice.

Dr. Steven Roberts, Director of Jazz Studies, University of Alabama-Birmingham

Most students that come to study with me have a classical background, so the first step in teaching them to improvise effectively is explaining the style difference. College students generally have a vague recollection of their middle or high school band director showing them how eighth notes in jazz are swung like a triplet quarter note and eighth note, so we start there. I show them by playing over a major scale how at a slow tempo these eighths are very much like that triplet their band director described, but as the tempo gets faster the “swing” depends more on accents and articulation on the offbeats. While listening is the ultimate and preferred way to learn these concepts, it is often helpful to put it on paper, especially for classical musicians. I stress how important scale and pattern practice is, but it can only be truly effective using the appropriate style. Each of my classes receives this jazz articulation sheet in Bb concert (below) at the beginning of the semester and then at the beginning of each rehearsal I pick a key and we play it together as a group.

With beginning improvisers, I try to limit my improvisation strategy to playing in the key area and thinking about themes. As students progress we talk more and more about specific chords and aiming for 3rds and 7ths, but I find this overwhelms my beginners. After we establish what key to play in and where I shift the conversation to motives and building a theme. We talk about Beethoven’s 5th Symphony and how the first four notes set up a template for the entire piece noting that improvisation is merely composition on the spot. We then take a beginning tune like Autumn Leaves and go around the circle with the rule that you must base your solo on something that the previous soloist played. This gets them listening to their fellow classmates, and also opens them up to using a small building block to create a bigger structure. In my jazz combo classes, I try to stress that listening is the most important part of the journey. I encourage students to search out a role model or at least find someone that they really love to listen to. Once they have found someone they enjoy and want to sound like, I ask them to pick an album or two and immerse themselves in it. Transposition can be daunting to the young student, so initially, I ask them to try to sing along with the soloists as well as they can, and eventually, we start picking apart some of the easier phrases.

Literature Review:

From Andy... For a band just starting out, the Dave Wolpe arrangements are a great place to start. He has taken some of the more well-known arrangements and tailored them for beginning groups. If your band is more advanced, I’ve recently found a great collection of charts at www.ijazzmusic.com, where they are focused on new arrangements and compositions. Arrangements and compositions by James Miley are adventurous and accessible for young bands, as well as several Dan Gailey arrangements. We also perform works from the Count Basie Orchestra, Thad Jones, and Duke Ellington arrangements. The Ellington charts are available via the Lincoln Center Jazz Orchestra website. There’s always JW Pepper!

From Steve... At my jazz camps I use two collections that work really well for young bands. One is Easy Jazz Classics (15 Selections For Young Jazz Ensembles) put out by Hal Leonard. My favorite, also put out by Hal Leonard, is The Best of Sammy Nestico (For Young Jazz Ensemble). This one has some of the great all-time big band charts, but they are tamed down for the younger group.

From Chris... When selecting music for our bands I try to find a balance between challenging written sections and improvised opportunities for everyone. Be sure to familiarize yourself with whatever number system or levels are used to grade the difficulty of the charts. It’s better to start at an easier chart and work your way up. It can be tempting to put something in front of them that sounds great but they may not have the chops. If you play an easier chart, there’s a good chance they’ll have more fun because it sounds better! Each publisher has their own system and most charts we play in our top tier group are in the Advanced/Expert or 5-6 number category. I still like to throw in a couple intermediate or number 3’s to give them a break or stretch out on solos. Some of the arrangers I like to use that are more of a beginner/intermediate difficulty have been from Mark Taylor, Paul Baker, Roger Holmes, and Paul Murtha to name a few. The website www.ejazzlines.com has a number of charts that can be searched on difficulty and many can be downloaded immediately in PDF form.

Teacher Profile Donald Dowdy

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

This is my 24th year of teaching band at Monrovia Middle School (located just northwest of Huntsville). Both Monrovia Middle and Sparkman Middle feed into Sparkman High School.

My teaching schedule is terrific: we have a 7-period day with three periods of Beginning Band (semi-homogenous), two periods of Intermediate Band, and one period of Advanced Band.

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

I grew up #3 of 4 children in South Georgia. I attended Berry College, followed by VanderCook College of Music and Troy University. During my early years, my Mom saw to it that I had piano lessons. Since my older siblings were in band, I followed suit as a cornet player.

Why did you decide on a career in music education?

Our small high school had a fledgling band program, but in 9th grade, at a fully-instrumented district honor band, my tea was forever sweetened. During that Eureka! weekend, I sat behind a monster 8-member French Horn section, giddily inhaling

Shostakovich’s Festive Overture and Rimsky-Korsakov’s Procession of the Nobles and it was nothing less than cataclysmic. Bob Barr was the clinician—and what a wand-wielding wizard he was. As the perennial clinician, he introduced me to a stampede of warhorse literature, including Tchaikovski’s Finale to the 4th Symphony, de Nardi’s Universal Judgment, his own arrangement of Handel’s Care Selve, Copland’s Fanfare for the Common Man, Wagner’s Elsa’s Procession to the Cathedral, Jenkins’ American Overture for Band, and always a Sousa march: Washington Post, The Thunderer, The Black Horse Troop, Nobles of the Mystic Shrine.

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

My mentors (in addition to Bob Barr): Tom Preer (always made Band fun); Jim Clark (great Berry College band director and a cornucopia of practical advice); H. E. Nutt, Vic Zajec, Richard Brittain (VanderCook profs— their legends speak for themselves); Johnny Long (sine qua non); and a couple of genius and dynamic clinicians: James Croft and David Gregory—never my professors, but consummate musicians and conductors.

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

There are many stories— primarily due to my ancientness. One of them from Beginning Band class: I was introducing Beethoven’s “Ode to Joy” theme. I mused that if time travel were possible, I’d love to witness the 1824 premiere of Beethoven’s Symphony #9. I said something like, “I really wish that I could’ve been there.” A darling little cherub trumpet player simply asked, “Well, where were you?”

Name one accomplishment that fills you with pride so far in your career. What truly, truly fills me with joy is seeing students respecting, helping, and cheering each other on—especially when it’s another organization.

Band/Choir/Orchestra is the ultimate teamwork—everything we do (intonation, precision, balance, articulation) hinges on togetherness. And it really is quite simple—making the decision to do just that: work together. There’s no place for competition within an ensemble because ensemble by its very definition means “together”. My only competition is myself: am I better today than I was yesterday?

Anything additional?

Bob Barr didn’t know who I was—I was just one kid out of thousands under his baton. He never knew his impact on me because I never told him—I wish I had.

Jim Clark advised us, “Every week, sweep/vacuum your own band room—for a couple of reasons: 1. nobody will clean it better than you, 2. you’re giving your custodian a break, and 3. some of your best ideas will come during that time”. So as you’re moving each chair and stand, thank our Good Lord and pray for who sits there. And try to figure out how to sweeten that life. It may not even be music—it could your kindness, your work ethic, or your quiet witness to Christ . . . we may never know those epiphanal Eureka! moments, but when they happen, those smiles will forever light up everyone’s world. You may have some trophies sitting on a shelf behind you, but your real trophies are sitting in front of you.

Soli Deo Gloria!

Alabama Vocal Association

Elementary/General Division

Alabama Orchestra Association

Alabama Bandmasters Association

AMEA Industry/Institutional Membership 2022-23

AMEA would like to express appreciation to the following partners who have joined AMEA in our efforts to promote music education in Alabama. Please support these industry/institutional members who support you as music educators!

American Travel Consulting

P.O. Box 750, Albertville, AL 35950

At ATC, student travel planning is our passion. Having traveled extensively throughout our careers, our team understands just how important travel is to a student’s well-rounded education. Travel provides students real world experiences not available from a textbook and offers learning opportunities on an enhanced level. From elementary school groups headed to Atlanta for a weekend trip to marching bands flying to California for the Rose Parade, our team is ready to help plan your perfect trip!”

Arts Music Shop, Inc.

3030 East Blvd, Montgomery, AL 36116

Your One Stop Complete Music Company! ... we are a full line music store headquartered in Montgomery, AL with two additional locations in Dothan and Birmingham, AL.

J.W. Pepper

191 Sheree Blvd, Exton, Pennsylvania 19341

Founded in 1876, J.W. Pepper is the largest sheet music retailer in the world, delivering unparalleled customer service to musicians through its distribution centers, stores, and website jwpepper.com. Pepper offers sheet music useful to directors and performers alike, as well as music equipment, accessories, and technology solutions to support music programs.

Marchmaster

P.O. Box 73370, Newnan, GA 30271

Marchmaster is the premier southeastern leader in supplying footwear, guard equipment, custom designed uniforms & outfits, head gear, concert performance wear, podiums, field equipment, banners, electronics and other accessories for bands, orchestras, choral gr oups, and performing ensembles.

Performance Carts

11212 AL Hwy 157, Moulton, AL 35650

Performance Carts is a manufacturer of high-end carts for speakers, mixers, keyboards, drum sets, and other items used be marching ensembles in their performances. We also provide sound reinforcement consulting.

Southern Performances

PO Box 6852, Gulf Shores, AL 36542

Southern Performances was founded by David and Dayna Brannan with the mission of offering an all-around company to help any program or group perform with the highest quality equipment, apparel and instruction. With an extensive knowledge of the arts, they have combined forces to offer band and choir programs the best possible customer service for performing ensembles!

Troy University

John M. Long School of Music, Troy, AL 36082

The students, faculty, and staff in the John M. Long School of Music are committed to musical excellence in the classroom and in the performance arena. Our ensembles and classes are filled with many of Troy University’s best and brightest students from across the country and from all majors on our campus.

University of South Alabama

LPAC 1072, 5751 USA Drive South, Mobile, AL 36688

The Department of Music at the University of South Alabama, through its innovative curriculum and exemplary faculty, offers educational and creative opportunities for musicians and music educators. Propelled by an increasing music student population, a newly created graduate degree program, and a highly active concert series featuring accomplished soloists and diverse ensembles, the department continually embraces new artistic experiences that balance the rich history of music with emerging music of the 21st century.