October 2025 Southwestern Musician

Where music takes shape.

Behind every thriving music program is a system that works. Bandstor by Marco blends durability with thoughtful design—protecting instruments and powering programs with strength and style. That’s music, shaped right.

Sound Ideas

20 Band by ryan johnstone 31 Orchestra by emmanuel coraza 39 Vocal

by brigitte smith

47 Elementary. . by deborah edwin

48 College.. . . . . . . by erika j ..knapp

10 A Legacy of Dedication and Innovation

Last month, Frank Coachman retired from his position as TMEA’s first Deputy Director. Learn more about his years of transformational leadership.

22 Leading with Joy by dr ..lasaundra belcher

When we lead with joy, we prepare students for performance and we inspire a lifetime of curiosity, confidence, and musical engagement.

32 Score Study for the Busy Director by joshua thompson

With a daily routine that includes score study, we can focus on listening, assessing, and leading the ensemble rather than getting derailed by aspects of the music we don’t know well enough.

40 Cultivating Our Community of Educators by yvonne garcia , daniel gonzalez , and sergio olivares

Explore the insights of first-generation MexicanAmerican music educators on the significance of students feeling seen, heard, and valued in their music classrooms. Gain strategies for fostering a community of educators who reflect the stories of the students they serve.

ON THE COVER: (L–R) Noah Eslinger (now a senior at Eagle Pass HS), Logan Bachman (now a freshman at Belmont University), and Læsio Littlejohn (now a freshman at the University of Miami Frost School of Music) rehearse with the 2025 All-State Jazz Ensemble 1. Photo by Karen Cross.

2 From the Editor

4 TMEA News

6 President

14 Band

3 2026 Clinic/Convention

42 Texas Future Music Educators

43 Undergraduate & Graduate Scholarships

From the Editor

All around Texas, well-established educational routines are transforming students in our music classrooms. The excitement of first performances and the changing weather keep us on our toes, as any change can send our students into an unfocused state contrary to our established procedures and expectations. Somehow, it all comes together, and memories that last a lifetime are made possible by your investment in your students.

October’s issue of Southwestern Musician is full of music pedagogy, educational strategies, and guidance for activities that foster stronger teachers and more accomplished student musicians. The feature articles will help you find and foster joy in your professional experience, focus on practical score study, and encourage more students to pursue music and music education. The Sound Ideas short features help with games, music pedagogy, and strategies that can be quickly implemented to promote student learning and understanding.

The Vice-Presidents’ columns offer wonderful insights and informational previews on our 2026 TMEA Clinic/Convention. The TMEA News will inform you about the market research study TMEA contracted and the advocacy work being done to support music education in Texas.

October can also be a time when students and teachers get tired. It’s during one of the longest stretches between breaks in the educational calendar, and that is why it is such a critical time for student development and the support of their later achievement. So when you get tired or feel like your batteries need to be recharged, remember this quote from a 1983 interview with Bono: “Music can change the world because it can change people.” Then look in front of you at the lives you are positively changing through music education!

Joe Muñoz E xecutive Director jmunoz@tmea.org

Editor-in-Chief: Joe Muñoz

Managing Editor: K aren Cross Advertising Manager: Zachary Gersch

TMEA Executive Board

President: Shane Goforth, North Shore Senior HS president@tmea.org / 713-516-7158

President-Elect: Jennifer Martin, Fort Worth ISD presidentelect@tmea.org / 817-814-2640

Immediate Past-President: Jesse Cannon II, Fort Worth ISD pastpresident@tmea.org / 817-814-2635

Band Vice-President: Andy Sealy, Hebron HS bandvp@tmea.org / 469-948-3011

Orchestra Vice-President: Sabrina Behrens, Travis HS orchestravp@tmea.org / 281-633-6300

Vocal Vice-President: Jennifer Gallagher, Shadow Creek HS vocalvp@tmea.org / 281-245-3865

Elementary Vice-President: Lauren Summa, Passmore ES elementaryvp@tmea.org / 281-585-6696 x3126

College Vice-President: Carter Biggers, Texas Woman’s University collegevp@tmea.org / 940-898-2689

TMEA Staff

Executive Director: Joe Muñoz, jmunoz@tmea.org

Deputy Director: Mike Howard, mhoward@tmea.org

Administrative Director: Kay Vanlandingham, kvanlandingham@tmea.org

Advertising/Exhibits Manager: Zachary Gersch, zgersch@tmea.org

Membership Manager: Susan Daugherty, susand@tmea.org

Communications Manager: Karen Cross, kcross@tmea.org

Digital Communications Specialist: Amanda Pierce, apierce@tmea.org

Financial Manager: Cristin Gaffney, cgaffney@tmea.org

Information Technologist: Andrew Denman-Tidline, adenman@tmea.org

Software Developer: Daniel Reinhuber, dreinhuber@tmea.org

Administrative Assistant: Darielle Cyphers, dcyphers@tmea.org

TMEA Office

7900 Centre Park Drive, Austin, TX, 78754 P.O. Box 140465, Austin, TX, 78714-0465 www.tmea.org / 512-452-0710

Southwestern Musician (ISSN 0162-380X) (USPS 508-340) is published eight times annually (September–May, excluding March) by Texas Music Educators Association, 7900 Centre Park Drive, Austin, TX 78754. Subscription rates: One Year – $30; Single copies – $5.00. Periodical postage paid at Austin, TX, and additional mailing offices. © Texas Music Educators Association.

OFFICIAL PUBLICATION OF TEXAS MUSIC EDUCATORS ASSOCIATION

TMEA News

By Joe Muñoz

Recruit. Retain. Refine. A music educator’s work is grounded in these three R’s that create and sustain successful classrooms and programs. Similarly, TMEA strives to support music education.

As I shared in the April issue, the Executive Board approved a qualitative market research study of a targeted group of families whose children are not involved in music education. The goal was to help us improve our music education advocacy efforts. TMEA engaged the work of Houston-based firm Lopez Negrete Communications (LNC) to complete the study in May. The study engaged focus groups that represented the demographics of our state and included one music educator group.

KEY FINDINGS

Barriers to Participation: Parents reported systemic issues, including a lack of information, limited access to information, and prioritization of other academic subjects, were barriers to music program participation. Their responses indicate they aren’t fully aware of the music program’s benefits. How educators or school systems communicate with parents was also identified as a barrier; Spanish-dominant families shared they did not always receive information they could read and understand.

While educators often perceive cost as a significant barrier to participation in music programs, the only focus group that reported cost as a barrier in this study was the music educator group. Most parents said cost was not a key deterrent and answered that if their child had an interest, they would find a way to support their participation.

The parent focus groups also indicated higher interest in their children exploring programs that focus on individual music-making, like guitar and piano. This response should motivate us to examine how we can continue maintaining high-quality performance ensemble instruction while extending the reach of music education. We have an opportunity to serve more students and families who seek a music education beyond our typical ensemble-based programs.

Perception of Music Programs: Parent responses showed that music education is viewed as nice to have but not essential, with a focus on other academics, especially STEM. As music educators, we understand that rigorous fine arts study supports student development. High-quality music education is essential for all students in Texas. With that as our foundation, we must communicate effectively and educate stakeholders on the unique skills, intellectual growth, and experiences a high-quality music education can provide, such as creativity, discipline, teamwork, and emotional intelligence. Informing parents about the benefits of music education is vital to changing the perception of its value.

Children surveyed believe participation in music would bring enjoyment and social interaction, valuing the experience over the academic benefits. Aligning enjoyment and educational benefit will be an important balance to achieve moving forward.

Role of Decision-Making: Parents articulated that once in middle school, their child should decide for themselves whether to participate in music and that the parent’s role at that point is to support their child’s decision. Parents rely on school personnel for guidance but said this personal choice starts as early as the fifth grade. Does this information shift the paradigm away from the parents as decision makers? It certainly underscores how vital our elementary school music teachers are, as they introduce pathways to keep music programs flourishing and serve as the catalyst for improving participation and enrollment in secondary programs.

Reasons for Non-Participation: Common reasons for not engaging include lack of interest, time constraints, and peer influence. Understanding parent and student reasons for not choosing music is vital to charting a path leading to increased participation across all demographics and socioeconomic levels. TMEA’s commitment to music education for all demands that we explore ways to understand our role in marketing and advocating to those in our community beyond the parents and students already involved in local programs.

NEXT STEPS

TMEA is working with LNC to develop advocacy materials in English and Spanish for music educators to utilize. The materials will focus on informing elementary students’ parents about the unique benefits of continued participation in high-quality music education and how music enhances other academic areas. Recruiting involves more than just one conversation during an informational performance or meeting. Our goal is to educate future music consumers, expanding our circle of influence to encourage increased participation in local music programs, while exploring what is next for music education in Texas.

TMEA will also implement a social media campaign based on the materials and messaging created by LNC. The campaign will aim to raise awareness about the importance of music and arts education and highlight the essential role of music education in students’ social and academic development. This campaign will engage parents, students, educators, and other stakeholders and encourage them to support and participate in music education programs. 0

TMEA

PRESIDENT

SHANE GOFORTH

The inspiration that motivates the work that creates achievement, builds community and gives your students a sense of pride and belonging that will last a lifetime.

A Lifelong Influence

When people ask me what I love about teaching, I immediately say it’s the kids, and that’s about 90% true. The remaining 10% is wrapped up in the fact that I also love the community of like-minded educators who I get to work with every day. When I reflect on my 30 years in this profession, I can say with confidence that what has kept me excited about coming to work each day is that I love people and I love what the process of education, especially music education, does for them. If my mind ever wanders from the source of my professional passion, the universe has a way of reminding me why I love what I do. On a recent late-night flight, following a week working away from home, I was exhausted and feeling more than a little sorry for myself as I endured an egregiously long layover. When we finally boarded the plane, I settled into my seat and prepared to carry on my pity party. It was just then that a man dressed in work wear and steel-toed boots sat down in the seat next to me, turned, and asked, “Hey buddy, how you doing?” A small part of me wanted to answer from the miserable state of mind I was in, but luckily my mother’s polite and persistent influence on my upbringing kicked in and I replied with, “I’m fine, how are you?” After my new friend Ray put a strangely positive spin on our layover, I learned he was headed to Houston for training on the advanced operation of some heavy equipment. I responded in kind,

.org for updates

October—Renew membership, purchase liability insurance, register for the convention.

October 31, 4:30 p.m. CT—TMEA scholarship online application deadline.

January 22—TMEA convention early registration deadline.

February 11–14—TMEA Clinic/Convention.

Audition Dates

NOV. 22, 2025

Application due: Nov. 3

JAN. 24, 2026

Application due: Jan. 5

FEB. 28, 2026

Application due: Feb. 9

MAR. 28, 2026

Application due: Mar. 9

Undergraduate applicants must audition for all

Graduate applicants must audition or submit a

telling him I was a band director and was returning home after a weeklong series of clinics. Ray’s face lit up and he began to tell me that while he loved his job, his real passion was the tuba and how music and his music teachers had changed his life.

As stories began to pour from my tubaplaying friend, regularly interrupted with projections about how much I must love my job, I began to see a pattern. Really, it was more of a set of categories that Ray’s stories fit into.

The first was inspiration. Ray began with a string of anecdotes about how his elementary, middle, and high school music teachers and the programs they created provided him with a lifetime of intrinsic motivation and inspiration. The few times I could get him to talk about his work, he continued to relate it to his musicianship and music education. He explained how the drive for continual improvement he developed through music is what motivates him to fly to Houston several times a year to learn new skills that he uses and shares with those at home to make their work safer and more efficient.

The next grouping of stories were a wonderful combination of achievement, community, and pride. Ray wove an incredible tapestry through his recollections of the performances and accomplishments of the ensembles he performed with. In the retelling, Ray never spoke of himself; rather, he reveled in the expertise of his bandmates and the pride the entire community had in the band and their performances, from holiday parades to competitive victories.

He spoke about how his musical training and striving for musical goals provided him the focus necessary to be a leader in his chosen field, and he mentioned the lifelong friendships he had made through music. But mostly, he talked about how proud he was of the excellence that he and his fellow musicians achieved and how much the process influenced him to be a better father, friend, and professional.

His last set of stories revolved around the lifelong love of music and live performance that Ray had experienced through his

they would program. He shared his great disappointment that they had lost their annual DCI show, told stories about the many high school music contests and performances he had attended, and concluded with the exciting new works that he had encountered on his journey. As I listened to Ray speak with such passion and enthusiasm, it was clear that the music educators in his life had done an incredible job of making him an educated consumer and lover of music.

So as the year wears on and the stress that accompanies contests, performances, and everything else begins to mount, please don’t forget that music education is not about trophies or awards, it’s about people. It’s about kids like Ray who are looking for the inspiration that only you and your fellow educators can provide—inspiration that motivates the work that creates achievement, builds community, and gives your students a sense of pride and belonging that will last a lifetime.

It’s about mentoring generations of citizens who will love music and understand the essential role it plays in the human soul. Last, but certainly not least, it’s about you and the teaching family you work with every day. Please take time to take care of yourselves and always remember what an incredible impact you are having on the hundreds of Rays who walk into your classroom every day. The work you do is essential in so many ways! Be encouraged and continue to change the world, one student at a time, through music education.

2026 CLINIC/CONVENTION

I hope you are planning on attending our annual convention February 11–14, 2026, in San Antonio. The Executive Board and TMEA staff have been working hard for months planning what we hope will be our greatest convention yet. An essential part of making the convention a success are the hundreds of volunteers necessary to fill a plethora of vital roles at the convention center. Please consider registering to volunteer at www.tmea.org/volunteer. I promise you won’t be disappointed, and I thank you in advance for your service. 0

Shane Goforth is Director of Bands at North Shore Senior HS in Galena Park ISD. president@tmea.org

A Legacy of Dedication and Innovation

Following 26 years of dedicated service as TMEA’s first Deputy Director, Frank Coachman has retired. After joining the staff in 1999, Frank implemented vital technological advancements that have not only streamlined operations but also enhanced the educational experiences of music educators across Texas. His devoted service to supporting Region and state leaders, as well as all members and the students they serve, exemplifies TMEA’s mission.

In this article, we celebrate Frank Coachman’s remarkable service to TMEA. His commitment and innovative spirit have profoundly impacted our association and the broader music education community. I am deeply grateful for his mentorship while I was growing as a volunteer and leader in TMEA. He has given selflessly to countless tabulators, Region Chairs, and State and Executive Boards over his 26 years at TMEA. The cornerstone of his transformational leadership lies in the strong relationships he has built, empowering those who carry out TMEA’s mission. I appreciate his support during my initial year as well as his guidance during this transition of leadership. While I know Frank will continue to contribute to our efforts in various ways, I hope he also enjoys pursuing his other passions in retirement.

—Joe Muñoz, TMEA Executive Director

As you read the following Q&A with Frank, we hope you enjoy a glimpse into his journey, the changes he championed, and the lasting impact he has made in the field of music education.

Since you started working for TMEA, our membership has grown to over 20,000 and our staff has expanded to 11 fulltime employees. What stands out to you across these 26 years?

The growth of our association and complexity of the programming we offered to members and students drove quite a bit of change in a short period. As I took the position in 1999, the first programmatic change was to establish an internal job vacancy system. The previous system was handled externally and it took up to five days to post a position. The job vacancy system was the first database TMEA put online. Over the years the system has been improved, and it remains the most frequently visited area of our website.

When I came on board, TMEA was also in need of a standardized audition process. This implementation began with building a cross-platform database solution for managing entries and tabulating results. Several were in use across the state, but most weren’t cross-platform programs. I was able to create a solution using FileMaker Pro, which was compatible with both Mac OS and DOS. The system was adopted by the Board for statewide use.

After 20 years of improvement to that audition system, we faced the greatest upgrade challenge, necessitated by the pandemic. To ensure continuity in our audition process and the individual achievement it supports, we built a new audition system that would use better technology and would support virtual auditions. We initially partnered with MusicFirst for the recording platform, but we have since developed our own pages in-house for the virtual recording system. Andrew Denman-Tidline completed most of the work to develop this system that we continue to utilize and improve.

Attending the 1990 groundbreaking of TMEA’s second building with Bill Cormack and Robert Floyd.

Working on Honor Band tabulations in 2001 with Jeff Laird.

Speaking at a 2004 Region Chair meeting during the convention.

Receiving a grateful standing ovation from the membership during the 2025 Clinic/Convention General Session.

Conducting the national anthem during the 2024 TMEA Clinic/Convention.

I also led the staff in developing a database solution for membership management. When I arrived, every membership request was submitted on a paper form mailed to our office, with staff entering and updating information in the membership database. Over the years, our membership systems have evolved significantly and continue to be upgraded as technology improves. Today, individual memberships can be handled completely online. This has allowed staff to turn around district-level submissions more quickly.

When I began working for TMEA in 1998, the membership department manually processed about 500 memberships each week. Thanks to Frank’s innovative work, we now deal with roughly half that volume, with the remainder renewing online with little or no staff intervention needed. The TMEA of today—an envy of and model for many associations—is due in large part to Frank’s forward thinking and broad lens.

—Susan Daugherty, TMEA Membership Manager

The largest and most complex tech project of my tenure has been the convention management system. It began solely as a means for accepting session proposals. Through the years, it has expanded to encompass almost every aspect of the convention, from the scheduling of over 500 events to the upload of clinic handouts and concert repertoire data. Similar to auditions, the pandemic motivated more upgrades to this system, ensuring the Executive Board had streamlined and remote access to manage their convention programs. This work evolved to include management of audition materials and the entry process for honor and invited groups.

In addition to auditions, membership, and the convention, there have been many other databases and systems created to store and share information about TMEA and have historical data.

Today, TMEA staff manage about 100 FileMaker Pro databases that house historical data and support programs like the Mentoring Network, Texas Future Music Educator chapters, and Music Teacher Q&A.

How have you seen technology support TMEA’s mission?

The convention and audition databases have expanded through the years to the point where we have accumulated a wealth of meaningful longitudinal data. This data has allowed us to improve offerings for the convention and ensure a more equitable alignment of Regions and Areas.

Analyzing data obtained through member surveys each year has enabled the staff and Executive Boards to respond directly to member feedback about our program and event planning.

The data we gather through all systems is invaluable for our continued improvement of member services and programs that benefit them and their students, which directly supports our mission.

You’ve been described as TMEA’s wizard behind the curtain . What do you enjoy most about behind-the-scenes work? Well, I think Andrew took over the wizard role when he arrived at TMEA 20 years ago. It has been great to team up with him on many projects. The part I like about that moniker is being a problem solver. Many behind-the-scenes efforts have been to solve a

problem or improve a process. I like observing our members as they take advantage of solutions that give them more time to spend with their students rather than on administrative processes.

What is something our members might be surprised to learn that you worked on?

When I came on board, Executive Director Robert Floyd tasked me with designing a headquarters building that could last us more than 10 years. The association built their first headquarters in 1980, and they outgrew that building in less than 10 years. TMEA then built a new office in 1991 just off of North I–35, but when I came on board, there was no office space for me, so I worked out of the archives room. So, at Bob’s request, I drew up a floor plan for a new facility and passed it on to an architectural firm to design the framing and elevation. I am happy to say we met the goal, as we recently finished our 23rd year in the building. It still supports our needs and has room to accommodate staff growth.

You brought TMEA’s technology use into the 21st century, yet your biography doesn’t mention technology training. How did you develop the skills our association needed?

My only tech skill development, from an educational standpoint, was in punch card programming. Lines of code were typed, which punched a card that then fed into a card reader to be processed by a computer.

When I took over the Ellison HS band program in 1980, there were over 450 students in the program. I needed a way to track membership, instrument inventory, uniforms, music library, fundraising, and other aspects of the program. So, I purchased a Radio Shack Tandy TRS-80 desktop computer with two 5.25" floppy disk drives. I was amazed that the entire membership fit on one disk! We had a floppy for membership, one for inventory, one for the music library, and one for uniforms. These were databases using TRSDOS and a database platform called filePro 16.

With the introduction of hard drives, we could store all databases in one place and relate the data. This created a need for each director to access that data, so I learned how to set up local area networks.

At that time, I was serving in various TMEA leadership positions—Region Jazz Chair and then Region Band Chair. Durward Howard at Temple HS was using a Mac and a spreadsheet to run Region Band auditions. I took an interest and created a tab program using FileMaker Pro 3. We each tabulated auditions and compared our data. Eventually I took over the tab duties for Region 8 and Area D band auditions. When David Pennington became TMEA Band Division Vice-President, he asked me to tabulate the Band Division chair auditions at the convention. I believe this is when my colleagues began to take notice of the skills I had developed over the years.

From there, I just kept learning what I needed to support TMEA’s programs and to keep up with technology solutions that would enable them. With the rapid changes in technology and the growing complexity of what TMEA is building in-house, I’m pleased that TMEA recently hired Daniel Reinhuber to fill a new staff software developer position. With Andrew and Daniel working together, I’m confident that TMEA’s technology department is in great hands. Their teamwork will also help ensure our new Deputy Director, Mike Howard, can focus on supporting processes, policies, and procedures.

In my retirement, I will continue to be involved with our affiliate organizations’ websites and databases. This should reduce the load and allow staff to spend more time on TMEA services. Looking back, who and what from your music student and early career days influenced your work at TMEA the most? As a junior high and high school student, my band directors had a huge impact on me as a player and as a person. Carol Allen, Dick Thomas, Robert Schlessinger, and David Pennington were monumental in shaping my love of music.

As a college music education student, there were many music education professionals who were influencers. I remember meeting Bill Woods when I was at McMurry. He was conducting the tri-college reading band with McMurry, Hardin-Simmons, and Abilene Christian students. Rather than my principal instrument of trombone, I had been “recruited” in the absence of euphonium players to play euphonium, and Bill was complimentary of my playing. I recall a time later that year, when the McMurry jazz ensemble was performing at Seagraves HS, where Bill was the band director. I was touched that he thought enough of my abilities to ask me give one of his sons a private lesson.

After graduating from McMurray, David Pennington hired me for my first teaching position as the Nolan JH Band Director. At that time, the junior high participated in UIL marching contests. Little did I know when I took the job that my youngest sister had been selected as one of the drum majors. This made for a very interesting first year as a marching band director!

After Nolan JH, I worked with incredible staff members while directing at Ellison HS. They provided the best support and encouragement anyone could hope for. What made my experience even more special was that my wife, Kaye, was also my colleague. She directed the dance team, which was part of the marching band program.

don’t become an island. Find mentors who will assist you, and they will become your lifelong friends and colleagues. Recognize your shortcomings, misfortunes, and mistakes, and learn from them. Use them to grow yourself as a person and as a music educator.

You recently began leading a community band. How have you enjoyed this return to the podium?

In 2022, Charla Kelly and James Whitis asked if I would team up with them to start the Community Band of Central Texas. Conducting weekly during the school year has been heart-filling. I am in a happy place on the podium, and it’s incredible to work with musicians ranging from their teens to their 80s. It also gives me the opportunity to use my skills as an arranger, and I look forward to composing music for the band as well.

What have you enjoyed most about the work you’ve been involved with for TMEA in these 26 years?

Robert Floyd provided me the latitude to dream and the freedom to make the dreams a reality. We were “partners in crime.” I enjoyed being part of a team that was built to support our colleagues in the field and provide an incredible convention each year. It has been an honor to serve our members and I am thankful I was given this opportunity.

When I attended my first TMEA convention, I came across Bill Woods and several of his friends and colleagues. He remembered my name and introduced me as a “talented musician.” This made an impression on my heart and it heightened my selfesteem. Bill became a great friend and mentor, and he was the first to encourage me to apply for the Deputy Director position.

There are so many more wonderful friends who influenced and mentored me and who provided clinics for my concert and marching bands. While I can’t name them all without the risk of overlooking someone, I hope each of them knows how deeply grateful I am for their support and guidance.

With 20+ years as a band director and 26 more serving music educators, what advice would you offer our members? I think the best advice I can give anyone in a teaching field is to make every moment count, love what you do, and love the students you are teaching. For those who are about to enter our profession,

When Frank joined the TMEA staff, his charge was to lead us into the 21st century in technology. But over his 26 years at TMEA, his impact reached far beyond that. Frank shaped every aspect of TMEA’s daily operations, enhanced member services in countless ways, and—in his so-called spare time—played an indispensable role in every phase of our annual convention. Thank you, Frank—not only for your invaluable contributions to TMEA but also for your friendship, kindness, and assistance you so freely extended to every staff member, Region officer, and TMEA member you encountered.

—Robert Floyd, TMEA Executive Director Emeritus

What do you look forward to the most after you’ve settled into whatever retirement will look like for you?

My wife, Kaye, and I own a boutique shop in the center of the Village of Salado, and I look forward to spending more time with her in the shop. I also look forward to playing more golf, getting a bass boat (I fished in tournaments in my earlier life), maybe finding an RV, and improving the landscape at my home. I also plan to compose music.

OUR DEEP GRATITUDE FOR A CAREER OF DEVOTED SERVICE

As Frank steps into this next exciting phase, we celebrate his legacy of devotion and innovation. We wish Frank all the best in his retirement, knowing that his impact on music education will resonate for years to come. When you have the opportunity, we hope you will join us in extending your thanks to him. 0

With Bill Woods, at the 1995 convention, when Frank was President-Elect.

With Robert Floyd at the 1998 TMEA Clinic/Convention.

J.T. & Margaret Talkington College of Visual & Performing Arts School o f Music

Take control of your future as you prepare for a career as a professional musician, educator, or industry leader. Our music students thrive in small class sizes and oneon-one studio courses with faculty across a variety of areas and musical styles. From outstanding teachers in public schools, colleges, and universities, to professional careers as musicians and performers on some of the biggest stages, our students find their calling through a long tradition of excellence at Texas Tech.

Ap p ly Today

depts.ttu.edu/admissions/apply/

Aud itio n Days

Saturday, January 24, 2026

Saturday, February 21, 2026

Saturday, February 28, 2026

Recorded and remote auditions are available for select instruments.

ttu.edu/Music | schoolofmusic@ttu.edu | 806.742.2274

BAND DIVISION

ANDY SEALY, STATE VICE-PRESIDENT

As we transition into a daily routine, it is still essential for us to radiate enthusiasm for our craft and for our students.

Keeping the Vision in Sight

By this time each October, that giddy enthusiasm for the start of the new school year has begun to fade, much like that once luxurious summer band tan. For marching band enthusiasts, the glamor of those first Friday-night football games, pep rallies, and bus rides are behind us now. Most of the drill is on the field, and the stress and tension of competition loom. Our middle school colleagues have finally made peace with their fifteenminute lunch breaks, and their eager beginning band students have finally gotten the entire instrument assembled successfully—most of the time.

Teachers at all levels feel the weight of high expectations and performance pressure. We work hard to establish processes and procedures for the daily operation of our classrooms and rehearsals. By now routines are in place and we are starting to witness some early signs of the musical and emotional culture evolving within our programs. The hum of excitement is gradually tempered by a growing awareness that this music thing is much more challenging and complex than it appears. When the shine of that first month of school begins to diminish, our clear leadership and guidance matter the most. How we work to model, sustain, deepen, and renew our role as classroom leaders is critical.

As we transition into a daily routine, it is still essential for us to radiate enthusiasm for our craft and for our students. Our interactions should make it clear to both students and parents that we still have

check www.tmea .org for updates

October—Renew membership, purchase liability insurance, register for the convention.

October 31, 4:30 p.m. CT—TMEA scholarship online application deadline.

January 10—Area Band auditions.

January 22—TMEA convention early registration deadline.

February 11–14—TMEA Clinic/Convention.

INNOVATION. EXCELLENCE.

VIBRANT COMMUNITY.

Audition Dates

November 8, 2025 | January 17, 2026

February 16, 2026 | March 21, 2026

April 11, 2026

Competitive scholarships and virtual auditions are available!

Undergraduate Programs

Music Education, Music Business, Music Theory, Vocal Performance, Worship Leadership, Interdisciplinary Studies in Music, Music Minor

Graduate Program

Master of Music Education (Fully online)

All-State Choir Camp

June 29-July 2, 2026

Large School & TPSMEA Tracks

Open to Residents and Commuters!

a passion for teaching and artistry. There can be both madness and magic in routine. It is madness to continue a routine without reflecting on whether it’s working or without adapting our rehearsal strategies appropriately. Ritual and tradition are important, but flexibility and agility are more critical for growth.

By this point, we know the relative strengths and weaknesses of our ensembles. Leadership here means making intentional adjustments to our methods to address our weaknesses and challenge

our strengths to stretch and move on to the next level. The magic in our routines comes from purposeful practice and celebrating incremental improvements that keep us pointed in the direction of our musical goals. Small wins add up. Filter your routines, even your non-negotiables, through the questions of why we do this and how this brings us closer to our longterm vision.

The getting-to-know-you phase is over, and it’s time to actively engage any struggling or isolated students who may feel

MUSIC

overlooked. Quick check-ins and personal conversations can help foster a sense of belonging and support. These relationships need to move from transactional to transformational by recognizing that each student brings a unique skill set and personal history to the program. Assure them that their presence and active participation are what make the program special.

Elevate your collaboration with student leaders as well. They now have a greater perspective into this peer leadership idea than they did at the onset of the year. Situational role-playing and icebreaker games got the party started. Now the real work begins for these folks, too. Guide your student leaders through repairing and strengthening relationships when conflicts arise.

November 15

Excluding Guitar

January 24

Excluding Piano, Percussion, & Guitar

February 7

Excluding Percussion, & Guitar

February 21

Excluding Piano & Guitar

February 28

April 25

Give them a voice in decision-making in areas of high student interest like social events, game-day procedures, choreography, uniforms, and reward structures. A veteran colleague of mine refers to this as delegating the joy of running the program. Invest in student-led sectionals or academic tutoring. Most importantly, remind them in every context that their most important mission is to facilitate the success of others. Embracing the ambitions of their fellow musicians builds a more sustainable student culture and more resilient members. In many ways those student leaders become custodians of your future program through their relationships and modeling.

The demands of marching band and Region auditions affect students in different ways. These activities can unintentionally marginalize some students. Work to create and nurture healthy student attitudes about competition. Stress the value of what can be learned from what their competitors do well. Focus on self-reflection about the importance of daily individual progress. Help students view setbacks as challenges to be overcome by framing mistakes or disappointing results as opportunities for persistence. Subsequently remind your students that first-chair accolades are fleeting at best. Encourage them to strive to be better than previous incarnations of themselves at the next opportunity.

Find ways that highlight what the individual student brings to the program. Actively pursue pathways to align what students can contribute with what they are willing

SAM HOUSTON STATE UNIVERSITY

to contribute and then reward their efforts generously and often. Understand that no number of inspirational classroom posters will substitute for a director’s simple and positive acknowledgement for a task well done. This will help our students take more ownership in our programs and will help make them more accountable to one another. Remember that culture is built day by day and will last long after those posters have faded.

TMEA

CONVENTION UPDATE

I hope you are planning on attending the 2026 TMEA Clinic/Convention and have registered online. We have an outstanding program of clinics and concerts scheduled that I am sure will both educate and

inspire. You can learn more about attending at www.tmea.org/convention. If you work with someone new to teaching or new to Texas, help them prepare to attend our amazing event and ensure they know about registering in advance to pay the lowest fee.

Throughout the convention, I hope you will all take a chance to learn from our amazing All-State Conductors during open rehearsals throughout Thursday and on Friday morning. I’m thrilled to announce that the conductors featured below will be leading our division’s seven TMEA All-State ensembles. Read more about each of these amazing musicians and leaders at www.tmea.org/conductors.

CONVENTION HOUSING

By the time you receive this issue, our housing reservation system that opened on September 30 will likely be sold out or close to it. Continue to check back at www.tmea.org/housing to see if any rooms have become available through cancellations (especially in January near the January 14 cancellation deadline). We also encourage you to reserve directly with hotels that weren’t in our discounted group of properties. 0

Andy Sealy is the Director of Bands at Hebron HS (Lewisville ISD). bandvp@tmea.org

TMEA Clinic/Convention BAND DIVISION

Band Division All-State Conductors

All-State Rehearsals Are Learning Opportunities

Open All-State rehearsals during the convention are amazing opportunities for professional development. Observe nationally recognized conductors prepare students for extraordinary performances.

Congratulations to the 2025 MARK OF EXCELLENCE NATIONAL WINNERS!

WIND BAND

CLASS A

Bowman MS Wind Ensemble Andrew McCraw, Mark Caspersen Plano, TX

Cedar Bayou Junior School Honors Band Marcus Goodlow Baytown, TX

Clark MS Honor Band Gilbert Cuellar Laredo, TX

Colleyville MS Honors Band Lauren Jones Colleyville, TX

Griffin MS Wind Ensemble Leigh Ann McClain The Colony, TX

Grisham MS Honors Band Mason England Austin, TX

Indian Springs MS Wind Ensemble Caroline Caves, Adam Hunt Keller, TX

Maus MS Wind Ensemble Katie Lewis,Thomas Brink Frisco, TX

Shadow Ridge MS Honor Winds Ross Patterson, Adrienne Schuster Flower Mound, TX

Timberview MS Wind Ensemble Timothy Emsley, Daniel Walker Fort Worth, TX

Truman MS Symphonic Band John Linares Grand Prairie, TX

Wiley MS Wind Ensemble Taylor Williamson Leander, TX

CLASS AA

Aledo MS Honor Winds Simon Bosch Aledo, TX

Argyle MS Honor Winds Bojan Gutic Argyle, TX

Artie Henry MS Honors Band Katherine Willer Cedar Park, TX

Canyon Ridge MS Honor Band Amy Allison Austin, TX

Cedar Park MS Symphonic Band Britni Hummel Cedar Park, TX

Central JH Symphonic Band Jacob Groening, Oluwagbohunmi Fawehinmi, Manny Flores Euless, TX

Coppell MS East Honor Winds Steve McGrew Coppell, TX

Coppell MS West Honor Winds Katherine Rivera Dallas, TX

Cross Timbers MS Honors Band Lara Whitehouse Grapevine, TX

Dieterich MS Honors Band Angelyn Seppeler Midlothian, TX

Fort Settlement MS Honors Band Theresa Baragas, Tiffany Ye Sugar Land, TX

Kerr MS Honors Band Catharine Klein Burleson, TX

Killian MS Honors Band Trevor Ousey, Matthew Davis Lewisville, TX

Knox JHS Wind Ensemble Jennifer Dillard The Woodlands, TX

Kranz JHS Honors Band Kelby Koch Dickinson, TX

League City Advanced Band Bennett Parsons League City, TX

Lopez MS Honors Band Kim Garza San Antonio, TX

McLean Wind Ensemble Christa Martien, Jacob Gandy Fort Worth, TX

Pearland JH West Honors Band Meredith Bishop Pearland, TX

Pearson Ranch MS Wind Ensemble Anne Leo, Jonathan Pedersen Austin, TX

Red Oak MS Honors Band Megan Czerwieski Red Oak, TX

Reynolds MS Wind Ensemble Loren Taylor McKinney, TX

Ronald Thornton MS Honors Band Thomas Macias Missouri City, TX

Running Brushy MS Honors Band Van Robison, Mark Urbina, Nathan Snyder Cedar Park, TX

Spillane MS Symphonic Winds John Barton Cypress, TX

Stockton JHS Wind Ensemble Vincent Morris Conroe, TX

Tex Hill MS Honors Band Charles Agueros San Antonio, TX

Utley MS Honors Band Margaret Granado Rockwall, TX

CLASS AAAA

Davenport HS Wind Ensemble Jeffrey Keyes San Antonio, TX

Miami Arts Studio Wind Symphony Steve Rivero, Erich Rivero Miami, FL

West Plains HS Wind Symphony Heath Nall Canyon, TX

CLASS AAAAA

Colleyville Heritage HS Wind Ensemble William Redd Colleyville, TX

Friendswood HS Wind Ensemble Maycie Meyer Friendswood, TX

Grapevine HS Wind Ensemble James Rees Grapevine, TX

Independence HS Wind Symphony Daniel King Frisco, TX

Lakeview Centennial HS Wind Ensemble Jared Hudler Garland, TX

Lone Star HS Wind Symphony Mark Poole Frisco, TX

Wakeland HS Wind Symphony Rylon Guidry Frisco, TX

Walnut Grove HS Wind Symphony Reagan Brumley Prosper, TX

Youth Performing Arts School Wind Ensemble Kevin Callihan, Conner Kinmon, Samuel Riddick Louisville, KY

CLASS AAAAAA

Braswell HS Wind Symphony Aaron Snipes Aubrey, TX

Clear Lake HS Wind Ensemble John Pearce Houston, TX

College Park HS Wind Ensemble Jeffrey Gorring Conroe, TX

Collierville HS Wind Ensemble Thomas Richardson Collierville, TN

John B. Alexander HS Honors Wind Ensemble Joshua Martinez Laredo, TX

Keller HS Wind Ensemble Daniel Bloss Keller, TX

Moe & Gene Johnson HS Wind Ensemble Joni Perez Buda, TX

Rock Hill HS Wind Symphony Nathaniel Neugent Frisco, TX

Sachse HS Wind Ensemble Holly Taylor Wylie, TX

Shadow Creek HS Wind Symphony Josh Mooney Pearland,TX

NEW MUSIC DIVISION MIDDLE SCHOOL

Pearland JH West HonorsBand Meredith Bishop Pearland, TX

Tidwell MS Wind Ensemble Renee Quinlan Roanoke, TX

Ulrich Wind Ensemble Mike Rogers, Mitchell Brackett Klein, TX

West Lake MS Wind Ensemble Natalia Albacete Atascocita, TX

NEW MUSIC DIVISION HIGH SCHOOL

Lake Ridge HS Wind Symphony Brad Bonebrake Mansfield, TX

Lone Star HS Wind Symphony Mark Poole Frisco, TX

McKinney HS Wind Ensemble Brandon Fisher McKinney, TX

South Grand Prairie HS Wind Ensemble Michelle Ross Grand Prairie, TX

Youth Performing Arts School Wind Ensemble Kevin Callihan, Conner Kinmon, Samuel Riddick Louisville, KY

Special thanks to adjudicators Mary Schneider, Donald McKinney, Col. Michael Colburn, Richard Floyd, and Fred J. Allen

ORCHESTRA

MIDDLE SCHOOL STRING ORCHESTRA

Beckendorff JH Honor Orchestra Amy Williams Katy, TX

Canyon Vista MS Honors Orchestra Ragan Whatley & Emily Hornbake Austin, TX

Curtis MS Chamber Orchestra Amanda Su Allen, TX

Ereckson MS Chamber Orchestra Joanna DeVoto, Rachel Boone, Annabel Choi Allen, TX

Faubion MS Honors Orchestra Kari Zamora McKinney, TX

Fort Settlement MS Chamber Orchestra Angela Peugnet, Elizabeth Spencer Sugar Land, TX

Fowler MS Legacy Orchestra Victoria Lien Plano, TX

Krimmel Intermediate Chamber Orchestra Tiffany Webb, Stephen Cook Klein, TX

Lawler MS Chamber Orchestra Christine LaLonde, Kevin Sluder Frisco, TX

Sartartia MS Honors Orchestra Heather Davis, Guillermo Teniente Sugar Land, TX

TH Rogers School Chamber Orchestra Joyce Myoungji Jang Houston, TX

MIDDLE SCHOOL FULL ORCHESTRA

Ereckson MS Symphony Orchestra............ Joanna DeVoto, Matt McGann, Rachel Boone Allen, TX

Lawler MS Symphony Orchestra Christine LaLonde, Christian Holzer, Kevin Sluder, Jay McKellar, Madalynn May Frisco, TX

Seven Lakes JHS Spartan Symphony............ Klayton Hoefler, Adam Seltzer Katy, TX

HIGH SCHOOL STRING ORCHESTRA

Allen HS Chamber I Orchestra David DeVoto Allen, TX

Clear Creek HS Chamber Orchestra Brandon Cornett League City, TX

Clements HS Chamber Strings Neal Springer, Sally Kirk Sugar Land, TX

Jordan HS Sinfonia Orchestra Kyle Davis Fulshear, TX

L.D. Bell HS Symphony String Orchestra Allison King Arlington, TX

Plano West Chamber Orchestra Ryan Ross, Amy Gross Plano, TX

Seven Lakes HS Symphony Strings Desiree Overree Katy, TX

Tomball Memorial HS Chamber Orchestra Peter C. Jagdeo Tomball, TX

HIGH SCHOOL FULL ORCHESTRA

Clements HS Symphony Orchestra Neal Springer, Jeff Johnson, Sally Kirk Sugar Land, TX

Jordan HS Symphony Orchestra Kyle Davis, Daniel Galloway Fulshear, TX

Seven Lakes HS Symphony Orchestra Desiree Overree, John Mays, Sean Carlton Katy, TX

YOUTH ORCHESTRA

Houston Youth Symphony Michael Webster Houston, TX

Special thanks to adjudicators Kayoko Dan and Larry Livingston.

CHOIR

MIDDLE SCHOOL TREBLE CHOIR

Ereckson MS Select Treble Choir Stephanie Petru Allen, TX

Indian Springs MS Honor Treble Choir Lauren Garcia Keller, TX

McMillan JHS A Cappella Treble Choir Daryl Jackson, Kassidy Kramer Wylie, TX

Tidwell MS Cantare Varsity Treble Evan Lane, Marissa Stephens Roanoke, TX

Trinity Springs MS Varsity Treble Choir Clinton (Hardy) Ferrie Keller, TX

MIDDLE SCHOOL OPEN CLASS

Tidwell MS Fortissimo Varsity Tenor Bass Choir Evan Lane Roanoke, TX

Trinity Springs MS Chamber Mixed Choir Clinton (Hardy) Ferrie Keller, TX

Trinity Springs MS Varsity Tenor-Bass Choir Clinton (Hardy) Ferrie Keller, TX

HIGH SCHOOL MIXED CHOIR

Grand Prairie Fine Arts Academy Singers Joel Duarte Alexis Galindo Grand Prairie , TX

L.D. Bell HS A Cappella Choir Jo Ann Antinone, Xavier Bailey Hurst, TX

Lake Creek HS Chamber Choir Cameron Carnley Montgomery, TX

Summer Creek HS Chorale Amanda Robison Houston, TX

HIGH SCHOOL OPEN CLASS

Allen HS Varsity Treble Choir Casey LeVie Allen, TX

Bridgeland HS Varsity Treble Choir Aubrey Erickson, Christopher Fiorini, Dolores Noel Cypress, TX

Elkins HS HS Varsity Treble Choir John Richardson, Zoey Simonson Missouri City, TX

Lake Creek HS Chorale Women Cameron Carnley Montgomery, TX

Wylie East HS Varsity Treble Choir Ashley Dame, Andrew Carr Wylie, TX

Special thanks to adjudicator Julie Yu.

JAZZ

MIDDLE SCHOOL JAZZ ENSEMBLE

Grand Prairie Fine Arts Academy MS Jazz Ensemble 1 Mark De Hertogh Plano, TX

HIGH SCHOOL JAZZ ENSEMBLE

Harlingen HS Honors Jazz Band Maria Coronado Harlingen, TX

Los Fresnos HS Jazz Orchestra David LaClair Los Fresnos, TX

Temple HS Highlighters Marcos Duran Temple, FL

Special thanks to adjudicator Aaron Lington.

PERCUSSION

MIDDLE SCHOOL PERCUSSION ENSEMBLE

Bailey MS Percussion Ensemble Cam Simpson, Ruben Paredes Spring ,TX

Westbrook Intermediate Percussion Ensemble Andres Aya, Jane Maloy Friendswood, TX

HIGH SCHOOL PERCUSSION ENSEMBLE

Lakeview Centennial HS Percussion Ensemble Joshua Gonzalez Garland, TX

Little Elm HS Percussion Ensemble Matt Neal Little Elm, TX

South Grand Prairie HS Percussion Ensemble Jesus Martinez Lewisville, TX

Special Thanks to adjudicator Joseph Gramley.

SOUND IDEAS

BAND: TONAL TRANSPARENCY THROUGH FUNDAMENTALS

By r yan Johnstone

Aband’s first and lasting impression is its sound. One of the key challenges for directors is guiding an ensemble toward tonal transparency—a unified sound where each instrument’s unique color is clearly heard and beautifully balanced within the whole.

Before ensemble tone can develop, individual fundamentals must be in place. Proper posture, breathing, embouchure, and air control are essential to producing a consistent, beautiful tone. Without these basics, transparency is unattainable.

Equally important is classroom culture. Calm management, clear rehearsal etiquette, and positive learning behaviors foster an environment where focused listening and tonal growth are possible.

THREE ESSENTIAL QUESTIONS FOR STUDENTS

Encourage students to regularly ask themselves:

• Am I making my best, most beautiful sound? Is my tone clear, steady, and free of noise?

• Am I accurately predicting the energy and volume of the sounds around me? Can I hear each voice within my sphere of listening (especially those to my left and right) clearly enough to give meaningful feedback if asked?

• Can I hear all instrument voices? Adopt the mindset of playing to hear, not to be heard.

Instilling understanding and accountability around these questions shifts tone and balance responsibility from the director to the ensemble.

USING CONCERT F AS A MODEL SOUND

In many Texas band halls, Concert F is the first note performed in rehearsal. Beyond serving as a warmup, it can provide a valuable reference for tone modeling and ensemble unity. Daily use of the following exercises will improve ensemble transparency when principles are applied consistently and with clear expectations.

UNISON AROUND THE ROOM

For this exercise, Concert F, or any unison pitch, is passed from section to section in reverse score order (tuba to flute). Goal #1: Each section sounds like one unified version of that instrument. Goal #2: Sections match in volume and energy as the tone is passed throughout the ensemble. Once these benchmarks are achieved, try these variations:

• High to Low (score order): Students should listen carefully and match the volume and texture of the preceding section. This may help enhance woodwind color within the full ensemble sound.

• Overlap: One group enters midway through another’s

sustained note to explore blend across instrument families or color groupings (e.g., horn to clarinet, trumpet to flute, brass to woodwind). The first group establishes the primary timbre; the second functions as secondary. Reinforce the concept that the secondary voice should fit into or color the primary. Students should maintain this awareness as a full ensemble.

• Octave Layering: Most ensembles will produce four or five octaves when playing a unison pitch together. Begin with the lowest octave and gradually add each subsequent layer, maintaining balance across all ranges. This approach will expose the octaves that are naturally more dominant and ones that need to be brought out.

TONE MODEL GROUP EXERCISES

Establish a tone model group by selecting one student per instrument. Ideal model players demonstrate strong fundamentals and consistent sound throughout the start, sustain, and release of notes. Often, this group will sound good with minimal instruction, but the goal is to guide them toward a well-balanced tone across all represented instruments. Use the tone model group in several ways, such as:

• Model to Ensemble: The tone model group performs a Concert F, unison note, or a brief sequence of an exercise. The rest of the ensemble attempts to recreate the sound of the tone model group.

• Model, Then Add In: The model group sustains a note while the rest of the ensemble enters at a designated time or randomly. The goal is for the model tone to remain unaffected. With progress, challenge the ensemble to reproduce the collective tone independently, without using the add-in strategy.

Encourage students to offer feedback about differences between the model and the ensemble groups. Validate insights when possible and use them as you work toward greater achievement.

Pursuit of a more resonant and transparent sound should be an integral part of every rehearsal. Ongoing improvement allows the ensemble to continually mold its tonal standard. When music presents inevitable technical challenges and sound begins to falter, revisiting the model sound can reset the ensemble’s ears and refocus tonal intent. By returning often to this model sound, directors help students internalize excellence and bring that standard into every phrase of music they play. 0

r yan Johnstone is Director of Bands at rouse HS (Leander ISD).

TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC

SCHOLARSHIP AUDITIONS

Scholarships are available for both music and non-music majors. These awards are intended to provide recognition for scholarship and talent in the study of music.

SCHOLARSHIP AUDITION DATES:

Saturday, November 22 , 2025 • 1 - 3pm

Monday, February 16, 2026 • 1 - 3pm

Saturday, March 28, 2026 • 1 - 3pm

Saturday, April 11, 2026 • 1 - 3pm

Individual audition dates may be requested if necessary.

For specific qualifications for each award, visit www.tlu.edu/music-scholarships.

TLU SCHOOL OF MUSIC

DEPARTMENT HEADS

Douglas R. Boyer Director, School of Music and Director of Choral Activities dboyer@tlu.edu 830-372-6869 or 800-771-8521

Heather Couture Musicology Studies hcouture@tlu.edu

Eliza Jeffords Director of Strings ejeffords@tlu.edu

Melissa Lubecke Sarabia Director of Vocal Studies mlubecke@tlu.edu

SungEun Park Director of Piano Studies supark@tlu.edu

Brett A. Richardson Director of Bands brichardson@tlu.edu

FACULTY

Carol Brittin Chambers Composer in Residence & Composition

Lauren Casey-Clyde Asst. Professor, Trombone & Euphonium

Jimmy Cheung Asst. Professor, Piano & Collaborative Pianist

Sean Holmes Asst. Professor, Horn & General Music

Stephanie Hulsey Instructor, Flute

Michael Keplinger Instructor, Guitar

Martin Kesuma Asst. Professor, Piano & Music Theory

Elizabeth Lee Asst. Professor, Cello

Katherine Martz Instructor, Bassoon

Scott McDonald Instructor, Saxophone, Jazz Band & Music Education

Carla McElhaney Asst. Professor, General Music

David Milburn Instructor, Double Bass

Daniel Orban Instructor, Trumpet

Keith Robinson Instructor, Tuba & Music Education

Jill Rodriguez Instructor, General Music

Eric Siu Asst. Professor, Violin

Yu-Hsin Teng Asst. Professor, Collaborative Pianist

Bryce Turner Instructor, Percussion

Shareen Vader Instructor, Piano & Music Education

Mika Allison Valenzuela Instructor, Oboe

Yvonne Vasquez Instructor, Mariachi

Tyler Webster Asst. Professor, Clarinet & General Music

By Dr. LaSaundra Belcher

Do you remember your first day as a teacher? While my expertise is in orchestral music, my first teaching job landed me in a K–8 general music and chorus classroom at a charter school.

There were no books, no instruments, and no curriculum. I eagerly greeted my first class of kindergartners, only to quickly discover that enthusiasm alone wasn’t enough. As soon as their homeroom teacher left them in the music room, the waterworks began—it was full-on emotion from the start! One student burst into tears, then another screamed, “I want my mommy!” Before I knew it, the whole class had erupted into a chorus of sobs. None of my college textbooks or magazine articles had prepared me for this moment!

Instinctively, I asked one tearful student, “What did you have for breakfast?” He sniffled, “Cereal.” Another student immediately shouted, “Pop-Tarts!” Seizing the moment, I cheerfully added, “My favorite is pancakes!” This conversation miraculously shifted the energy in the room. One moment, it was a symphony of sobs; the next, a buffet of breakfast brainstorms. That instinctive moment— when tears turned into joy—became a defining point in my teaching journey. Before I could teach music, I had to meet my students exactly where they were, emotionally and mentally. Only when we arrived at that place together could I facilitate a space where they were truly ready to receive. And that journey began with joy. Joy had to come first.

Over 22 years of teaching and conducting youth orchestras—from rural classrooms to all-state ensembles—I’ve consistently seen that prioritizing joy transforms rehearsals, empowers students, and creates lifelong music supporters and contributors far beyond the final concert. This article presents practical strategies and reflec-

Transforming Your Music Classroom

tive insights to support educators in cultivating joy-centered learning as lead facilitators within the music classroom.

LEADERS SET THE TONE: JOY BEGINS WITH YOU

My teenage daughter recently received her driving permit. Each time someone cut her off, she echoed the exact frustrated phrase I’d muttered. While not profane, it certainly wasn’t polite. Clearly, my behavior taught her how to respond. My children are always watching. As a leader in my home, the way I respond—privately and publicly—teaches them how to navigate the world. They’re learning how to handle challenges by observing how I manage them. The same principle applies in our classrooms: our students learn just as much from what we model as from what we teach.

As the lead facilitator of learning in our classrooms, the energy we bring into the room sets the tone and shapes the environment our students will encounter while they are with us. As educators, we are pedagogical thermostats. Our mood and energy directly influence students’ attitudes and engagement. We can regulate emotions, influence community, and empower collaboration with how we set and maintain the temperature of joy in our classroom environments—and students notice. Students can sense when you aren’t feeling your best. They can sense when you’re tired, and they can sense when you care about them. Ever notice students flocking to the choir, orchestra, band, or music room during lunch? It’s because our spaces are where students experience genuine joy through community.

Leading with joy doesn’t mean exuding constant cheerfulness. Challenges are inevitable. Joy comes from understanding your

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deeper purpose—your why. Teaching is what you do, but your why is your deeper calling, guiding you even on tough days. Knowing your why helps you maintain perspective and approach challenges with resilience and optimism.

To set a positive and welcoming tone in my rehearsals, I begin each day by giving students the opportunity to share some good news. This might be a personal victory like passing a test, details about a recent trip, or excitement over a new book from the library. During this dedicated time, students celebrate one another and

build personal connections. Sharing good news affirms that their lives beyond the classroom matter and that we care about them as whole individuals. Even on tough days, making space for authentic sharing, encouragement, and celebration fosters a sense of community, collaboration, and communication. It’s not about forcing cheerfulness; it’s about being present and passionate and reminding students why what we do together matters.

Quick Tip: Start rehearsals with some good news, personal stories, fun music facts, or a corny joke. Invite students to

share musical experiences from their week. If they’re hesitant, share your own stories first to inspire theirs. Creating a routine like this consistently establishes a joyful environment.

FACILITATING JOY: MAKE SPACE FOR GENIUS

In my first year of teaching, my approach was entirely teacher-centered. I delivered what I thought students needed, drawing only from my lived experiences. To make matters more challenging, my charter school lacked the resources and support to guide my instructional practice. By my second year, things began to shift. I launched the school’s first chorus and started recruiting students one by one. I’d walk up to them and say, “Hey, you look like you can sing. Come join my chorus!” If they replied, “I can’t sing,” I’d smile and say, “That’s okay—I’ll teach you. Join anyway!” I didn’t have polished flyers or the perfect pitch. What I had was a positive attitude and a commitment to joy—and that’s what drew students in.

In the first few weeks of choir, I focused on traditional choral repertoire. But by the third week, I returned to my roots and introduced a gospel selection. Within minutes, something extraordinary happened—students began singing in threepart harmony, effortlessly and without any instruction from me. The sound they produced was unlike anything I had heard before. It wasn’t the result of my teaching— it was their lived experience and genius displayed. These students had gospel roots of their own, and this piece allowed their brilliance to shine through.

Facilitating joy in the classroom begins with two core understandings. First, we must reject the idea that students are empty vessels waiting to be filled. Our students arrive with creativity, culture, and genius already within them. It is our responsibility as educators to create space for that brilliance to be recognized, valued, and nurtured. Second, fostering genius requires an exchange of ideas. Teachers should embrace the opportunity to learn from their students, recognizing that their diverse backgrounds, experiences, and insights can powerfully shape and elevate our practice. Joyful classrooms are those where students actively help shape the curriculum, leading to deeper engagement and more meaningful, shared learning

experiences. When supervising preservice teachers, I stress the importance of honoring students’ diverse backgrounds and talents by weaving their ideas, strengths, and interests into the curriculum. When students see their identities meaningfully reflected in content, learning shifts from transactional to transformational. By emphasizing transformation over the mere delivery of information, educators foster experiences that transcend technical skill, enabling students to apply musical understanding to real-world contexts and make space for genius.

What are we doing when we make space for genius? We’re doing more than making music—we’re empowering students to unleash their creativity, celebrate their genius, and strengthen the fabric of our school community. Making space for genius requires vulnerability and flexibility from teachers. It means sometimes setting aside your carefully planned lesson to explore an idea a student shares. It means genuinely believing in your students’ abilities, even when they doubt themselves. When students know their input matters, their enthusiasm and engagement skyrocket.

Quick Tip: Center student voice in your repertoire choices.

Invite students to help shape the music that’s played or sung in class. One simple way to start is by co-creating a classroom playlist—music they select to play as they enter or exit the room. Go a step further and build a Joy Playlist together: songs that uplift, inspire practice, or remind them why they love music.

At the end of the year, reflect:

• What percentage of your repertoire was student-driven versus teacher-driven?

• How often did students have the opportunity to bring their own culture, creativity, and genius into the learning process?

When students feel heard, they lean in— and the music means more.

THIEVES OF JOY:

PROTECTING YOUR SPARK

Trying something new can be both exciting and intimidating. While new experiences often bring growth, they can also stir

When we lead with joy, we prepare students for more than performances; we inspire a lifetime of curiosity, confidence, and musical engagement.

up anxiety or hesitation. I’ve always heard that everything is bigger and better in Texas—but leading with joy doesn’t have to be bold or extravagant. In fact, it often begins with simple, intentional steps. Joy doesn’t require grand gestures—it starts small and grows with consistency.

Educators face countless challenges—tight budgets, limited resources, communication barriers with administrators, and systemic scheduling challenges that often limit students’ access to music courses. These are all thieves of joy. So are burnout and the constant trap of comparison. However, naming the thieves of joy is only the first step. To protect our joy, we must set intentional boundaries—because joy isn’t accidental; it’s cultivated. Leading with joy demands ongoing care, not just for your students, but also for yourself.

As mentioned earlier, students can sense when something is off. That’s why your well-being isn’t optional—it’s essential to keeping your spark alive. For me, that means carving out one hour each day just for myself. Sometimes it’s meditation. Other days, it’s a scroll through social media videos to get a good laugh. At least three times a week, it’s exercise. That time is sacred—it recharges me.

You may not have an hour—and that’s perfectly okay. Even dedicating 15 to 20 minutes in the morning can shift your entire day. Maybe it’s a moment of silence, a walk, or your favorite coffee with the perfect creamer. Whatever it looks like, claim it. Self-care also means setting healthy boundaries: leaving work at work, saying no when necessary, and creating space for rest. And when challenges arise, reach out to a colleague, a mentor, or an online community of educators. Sustainable joy is rooted in connection, community, and self-compassion.

I’m willing to bet most of you reading this are the kind of people who give endlessly to others. As educators, it’s in our nature to put students, colleagues, and commu-

our greatest strength—our willingness to give—can also be our biggest weakness. We pour so much into everyone else. Why do we keep settling for giving ourselves only the little that’s left? You must prioritize pouring into yourself first because oil can’t flow from an empty vessel.

Quick Tip: Schedule at least one joyful activity each week to recharge yourself. Consider keeping a “Joy Journal” noting moments of laughter, breakthroughs, or ensemble successes. This habit helps sustain your joy, especially during challenging weeks.

THE JOYFUL IMPACT

As music educators, our responsibility extends beyond teaching technical skills— we must create rehearsal spaces students genuinely want to be in. Connecting music to life, celebrating student efforts, and modeling passion transform students into lifelong music makers.

When we lead with joy, we prepare students for more than performances; we inspire a lifetime of curiosity, confidence, and musical engagement. We create spaces where music becomes a joyful constant, enriching lives far beyond the classroom. So, keep choosing joy every rehearsal, every interaction, every single day. Your students are watching, and your joy makes a difference. 0

LaSaundra Belcher, EdD, is a conductor, educator, and arts leader committed to creating joyful, inclusive learning environments through music education. She serves as Adjunct Assistant Professor at Shenandoah University, Grant Manager for the National Association for Music Education’s Connected Arts Networks, and Chair of NAfME’s Council for Orchestral Education. Dr. Belcher will serve as the 2026 TMEA Orchestra Division Featured Clinician.

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ORCHESTRA DIVISION

SABRINA BEHRENS, STATE VICE-PRESIDENT

Ultimately, most of us got into the music field because something in the music we heard or played resonated with us. It made us feel good. It felt like home.

Good Music Is Good Music

My husband and I have recently renewed our love of live music and have been attending many concerts and live music venues over the last few months. Growing up in Bryan, Texas, one of my first musical loves (other than orchestral music) is country music. We recently discovered an emerging country music artist whose music we really connect with and just enjoy listening to. We watched an interview he gave in Nashville in 2024, and when asked about his music and why he writes the way he does, he simply said, “Good music is good music.”

So often in the classroom, we are concerned about the music we program and whether it checks all the boxes: Is it pedagogically sound? What can the students learn from it? What era does it represent? Is there enough for the basses to do? Is it on the PML? But how often do we stop and ask whether this is good music? I believe not enough!

But what is good music? I believe the answer depends on what lens you are looking through. Additionally, that answer will differ for every director, student, and musician. To a teacher looking to build skill in their students, good music might look like opportunities to practice shifting or demonstrate various bowing techniques. During UIL season, we must stick to the PML; however, we shouldn’t be afraid to review some of the new additions to the list or even revisit some

In Memoriam

Jody Cies 1955–2025

Jessica Gilliam-Valls 1969–2025

YOUR

check www.tmea .org for updates

October—Renew membership, purchase liability insurance, register for the convention.

October 25— HS String Honor Orchestra Parts B & C and recordings deadline.

October 31, 4:30 p.m. CT—TMEA scholarship online application deadline.

November 1–2— HS String Honor Orchestra adjudication.

January 22—TMEA convention early registration deadline.

February 11–14—TMEA Clinic/Convention.

old classics. In 2024, my students enjoyed playing Variations on a Well-Known Sea Chantey arranged by Richard Stephan as much as I did when I played it as a student in the mid-1990s. Depending on when your ensemble participates in UIL evaluation, you may be working on those pieces for a few months, so be sure to select music you enjoy listening to as well.

In our orchestra program, I like for our last concert of the year to be student-centered. Students pick the music or arrange it themselves and then rehearse and conduct the groups as well. While I may not be a huge fan of the latest Taylor Swift arrangement or music from the latest blockbuster film, our students are fans. To them, that makes these arrangements good music , and as a director I am here to support my students. Don’t be afraid to ask your students what they want to play. Students are plugged in, and thanks to social media, they have probably heard the newest Doug Spata tune before you have.

Ultimately, most of us got into the music field because something in the music we heard or played resonated with us. It made us feel good. It felt like home. It provided

us comfort in ways we can’t put into words. I believe any kind of music that provides you or your students with those feelings is good music. And even if that music doesn’t check all the boxes, it’s still worth our time.

CLINIC/CONVENTION UPDATE

Our 2026 convention schedule will be packed with fantastic professional development sessions and inspirational performances filled with good music! To ensure you pay the lowest registration fee to attend our annual convention, register now. Learn more about the rates and register at www.tmea.org/register.

If you couldn’t reserve a hotel room when housing reservations opened for members on September 30, keep returning to the hotel reservation system, as rooms will become available with cancellations. Also know there are many more hotels in and around downtown that were not on our hotel list; not all properties will offer TMEA the rates we expect to be part of our discounted housing blocks.

2026 ALL-STATE CONDUCTORS

I am very excited to share the lineup of our 2026 All-State conductors:

• Larry Livingston, University of Southern California

■ High School Seniors

■ Undergraduate Students

■ Student Teachers

■ Graduate Students

• Alejandro Gómez Guillén, Arizona State University

• Katherine Kilburn, Michigan State University

• Cindy Shea, Mariachi Divas

The planned repertoire is a great mix of symphonic literature warhorses and new works from living composers. We will even have a world premiere with the Symphony Orchestra! Our All-State Mariachi repertoire will include new arrangements by Cindy Shae, including some paying homage to Texas musicians. There will be so much good music made in February by our dedicated and skilled All-State students!

Auditions are in full swing this month, with October 18–25 as the recording window for Area Orchestra and Mariachi. As stressful as audition season can be for us

as directors, it is even more so for our students. Regardless of the outcome, remember to congratulate your students on all their hard work throughout this audition season.

CONVENTION VOLUNTEERS

I hope you will consider registering to become a convention volunteer. We always need more volunteers—everything from presiders and performing group guides to orchestra office workers. My first few conventions as a new teacher, I volunteered in the Orchestra Division office, and it is a role I have enjoyed working almost annually since that first year. Volunteering is a great way to make connections with other colleagues and learn a little more about the inner workings of the convention. Go to www.tmea.org/volunteer and register today!

HIGH SCHOOL STRING HONOR ORCHESTRA

For those directors who completed Part A of the HS String entry process, be sure to complete Parts B and C by the October 25 deadline. Find all the details at www.tmea.org/honororchestra. The Honor Orchestra adjudication is an open process, so you are welcome to come listen to the wonderful recordings being adjudicated on November 1–2 at Clements HS in Sugar Land. I know you will hear some good music that weekend from some of the best orchestras in the state. You might even hear some new pieces to take back to your orchestra! 0

Sabrina Behrens is the Director of Orchestras at Travis HS in Fort Bend ISD. orchestravp@tmea.org

TMEA Clinic/Convention

ORCHESTRA DIVISION

40+ Orchestra Division Clinics and Honor/Invited Concerts

Orchestra Division All-State Conductors

All-State Rehearsals Are Amazing Learning Opportunities

Open All-State rehearsals during the convention are amazing opportunities for professional development. Observe nationally recognized conductors prepare an extraordinary concert in three days.

SOUND IDEAS

ORCHESTRA: PILLARS FOR COLLABORATIVE SUCCESS

By Emmanuel Coraza

Amusic educator’s success is often built on a foundation of support from their colleagues both in fine arts and other academic disciplines. As the saying goes, imitation is the sincerest form of flattery. While I’d love to claim I have countless original ideas to share, the reality is that my strength lies in the experiences and lessons I’ve gained from listening, observing, and growing alongside others. In this short article, I hope to share some of the most important principles that have emerged from years of collaborating with colleagues while working to support our students.

At the heart of it all—every idea, every habit, every hard day—is one simple principle: We do what is right for kids.

For me, that principle isn’t simply professional, it’s rooted in my faith. I believe we are called to serve. Teaching isn’t just a job; it’s a vocation.

COLLABORATE WITH YOUR COLLEAGUES

I’m entering my third year as a head orchestra director and my tenth year in education. If you’re fortunate to work with an assistant or a team, lean on each other. Our strengths can complement one another, and together we can build something greater than we could alone.

At our campus, we prioritize collaboration through Professional Learning Communities. While I wasn’t always a fan of planning meetings, over time, I came to realize that if we don’t plan intentionally, we waste time, and our students lose valuable opportunities. Planning ensures we’re not just reacting; we’re giving students what they need, purposefully.

If you’re the sole orchestra director, your fine arts or electives team can be a lifeline. Sit in on a choir rehearsal. Watch your band colleagues run marching drills in the Texas heat. Observe a theatre warmup or a dance class. Every educator on your campus has something to teach you, and all of them share your mission—helping students grow through the arts.

The relationships you build with your colleagues aren’t just professional necessities; they are a model for your students on how adults should work together. When we collaborate and support one another, students notice. When we’re divided, they notice that too. Our unity shows them what respectful relationships should look like.

KEEP BUILDING YOUR MUSICIAN SELF

I’ve heard colleagues muse about their conducting, with comments like, “My students don’t watch anyway,” or “I’m not coordinated enough.” But conducting is about far more than stick technique.

It’s about clarity, communication, and connection. What we do on the podium is both musical and personal—our gestures, words, and tone influence each student and the full ensemble’s success in rehearsal. This vital aspect of our work requires continued development, so keep learning. Attend conventions and workshops and complete online learning. Read. Watch. Reflect.

Our students notice when we model curiosity and a passion for learning. They deserve to be taught by educators who remain committed to their personal and professional development.

ORGANIZATION AND COMMUNICATION MATTER

This job includes a lot of non-musical work, and it’s tempting to push those tasks aside in favor of rehearsal preparation or score study, but these administrative details are what allow for the smooth functioning of our programs.

One of the best tools I’ve used is a well-structured calendar— physical or digital. I also inherited a beautifully organized Google Drive from my predecessor, Peter Kempter, full of checklists and templates. If you don’t have this type of system in place, start building it now.

With systems in place, the next priority is clear communication. Without it, even the best plans fall apart. We send a weekly newsletter with sectional schedules, announcements, and key dates. It’s shared through email, CutTime, and the school’s messaging system, so families always know what’s going on.

Clear communication shows respect for your students and their families. It builds trust, prevents confusion, and shows that their time matters.

And once again—we do what is right for kids.

Whether you just started a head director role, are running a program solo, or are part of a team, I hope that considering these three pillars of collaboration, continued growth, and clear communication will help you have a successful year. There’s always more to learn, more to improve, more to figure out, and that’s part of the joy of this work.

Because at the end of the day, it’s not about being flawless. It’s about doing what’s right. We do what is right for kids. Always. 0

Emmanuel Coraza is in his tenth year of teaching at The Woodlands College Park High School, where he is Director of Orchestras. To request sample checklists, templates, or newsletters, email him at eperaltacoraza@conroeisd.net.

Score Study for the Busy Director

By Joshua Thompson

Have you ever experienced a moment when you realized you didn’t know the music or individual parts well enough to maximize rehearsal time? Maybe you had to step off the podium to check a student’s part and discovered a wrong note, or you paused to more deeply examine your score to figure out what was going on. I’ve certainly faced those situations, and each one left me feeling like I had failed my students by wasting their time. We often lament that we need just one more rehearsal before a performance, but how often do we consider what we could have done differently to prevent that need? The answer may lie in our own preparation.

WHY IS SCORE STUDY IMPORTANT?

There are many facets of our jobs we can’t control. We can’t control how much students practice. Sometimes, we can’t control which students will be in our rehearsals. We can’t control our students’ support systems. We can’t control when an ice storm results in the loss of a full week of rehearsals. However, score study is one aspect of our jobs that we can control. We can control how well we prepare.

Many directors utilize practice cards or practice logs with their students. The goal is to get our students into a consistent practice routine, especially in the earlier, formative years of their development. That said, expecting our students to practice 30 minutes daily while we find reasons that prevent our review of music scores for even a fraction of that time seems hypocritical. What are we

modeling for our students in those moments when we are on the podium and appear to not know what’s going on? Why should they prepare if we aren’t willing to do the same?

I believe I am most effective on the podium when I am deeply prepared. When I know the score so intimately that I can focus on listening, assessing, and leading the orchestra rather than getting derailed by aspects of the music I don’t know well enough, I am much more effective as a teacher. As one of my mentors, Don Schleicher, has said, “Any piece worth programming is worth studying.”

HOW CAN I FIT THIS INTO MY BUSY SCHEDULE?

I sense that many directors view score study as a time-consuming and laborious process. But it doesn’t have to be long, and it doesn’t have to be laborious. You don’t have to sit at your desk for hours at a time studying scores. Dedicating shorter and consistent score study blocks is more effective, and it’s easier to maintain. This is especially true if you are starting from a position where you haven’t been devoting much time to score study.

One of the main tenets of James Clear’s book Atomic Habits is “Small Changes Lead to Big Results.” Try to create a routine that encompasses score study into your everyday routine. Finding some facet of our lives where we can gain some time is easier than you might think. We often claim how busy we are, but I expect we can all put our phones away a little longer each day to make room for score study.

I had to change my personal score study routine last year because our class schedule changed. It took a few weeks to get into a rhythm, but once I did, I was able to study scores almost daily. It became an integral part of my routine. My approach to reading for pleasure is the same. I usually read over 100 books a year, and when someone asks how I can do this, my answer is that it’s simply become part of my daily routine. If you make score study a part of your routine, you won’t have to say, “Oh, it’s time for score study.” Rather, it will become an organic part of your routine.

Choose a time of day when you know you can study and do it daily for three weeks. After that time, it will become part of your routine—you won’t even have to give it conscious thought. And, after those three weeks, you’ll also be a more prepared teacher.

Another important point from Atomic Habits is to start small. Instead of declaring that you want to study scores for an hour every day, you could start by simply committing yourself to open a score every day—anyone can do that.

You may think that just opening a score seems too simple. But the point isn’t about opening the score; the point is about mastering the habit of simply doing it. Before we can improve our habits, they must be established. So, set easily attainable initial goals and you’ll be able to move onto higher-level goals. No one should prepare for a marathon by making their first training run 26.2 miles!

When implementing score study into your daily routine, establish some norms to make your time more productive. Create a distraction-free environment by gathering supplies (score, pencils, manuscript paper, metronome), closing your office door, turning off your computer or putting on a white noise video, and setting all devices to do not disturb. Now open your score and get to work.

WHAT IS A SUCCESSFUL APPROACH?

Approach score study as a task-based, not time-based, process. If in a score study session, we’re able to reach a logical end point, we’ll feel positive about it and look forward to the next session. I find it’s best to do a macro–micro–macro approach. Start with the big picture, zoom into the minutiae, and then zoom back out and synthesize all your information from the big picture standpoint.

MACRO STUDY

At the macro level, start by learning more about the composer. Who is the composer, and how does this affect your understanding of the composition? Every composer has attributes that are indicative of their style that will drive your score study focus, so start there.

Review the form and structure of the piece. Create a dynamics chart, as the composer may lead you to the significant structural moments. Identify the melodies and see how the composer alters them (or not) when writing for different instruments. Look at the major tonal centers and any aspects of the orchestration that are significant.

As a capstone to your macro study, develop a flow chart of the piece or movement on a single page. This should provide a bird’s-eye view of the piece. Often seeing it all on one page can help you better understand the piece, as well as how best to teach it. This is the stage of score study where you should edit your individual instru-

ment parts. For a sample flow chart I created for Beethoven’s String Quartet, op. 135, mvt. IV, go to www.tmea.org/thompson2025.

Notice all the work that preceded this stage! We often think of part-preparation as the first step, but especially on the higher-level repertoire we will program, this should not come first. In an ideal world, I would have completed all the micro work outlined below before examining parts too. Consequently, I will typically start my score study for my next rehearsal cycle well ahead of our first rehearsal.

PART STUDY

Individual part study and preparation is also a form of score study, especially in easier music. I don’t remember studying many scores when I taught middle school, but I edited and studied a lot of parts. This is the same for me now as I prepare to rehearse a piece with an orchestra that plays grade 2 music. With this level of music, I don’t need to do much score study, but I do need to study the parts. I need to examine the technical demands required of each instrument to identify which skills we need to work on in our warmups and technical exercises.

Of course, part study is important not just for those grade 1s and 2s. Last year, we performed Wagner’s Siegfried Idyll. In this work, the trumpet doesn’t enter until measure 295, thirteen minutes into the piece! It’s easy to overlook things like this just looking at the score, but you can’t miss it when looking at the part.

MICRO STUDY

When moving into the micro-study portion, you’re simply looking at things in much more detail. Mark all the phrases in your score and endeavor to stop rehearsing only at the ends of phrases. This will help your students better understand the formal architecture of the piece. Look at the harmonic details, especially when the composer strays from what seems “normal” and understand how a composer navigates between different tonal centers. Study the melodies in much greater detail and challenge yourself to write them all out from memory on manuscript paper. With confident knowledge of the melodies, you can better help your students by watching them as they play more challenging melodic passages.

BECOME A BETTER-PREPARED CONDUCTOR

If we find ourselves staring at the score while on the podium, we aren’t being the most effective directors we can be. When our students look up from their stands, it’s not just to watch the conductor or their principal player; it’s also to connect with the students around them, rather than staying in their isolated stand bubble. The same is true for the conductor! When we know the score well, we are more likely to notice areas for improvement, and we can connect and lead our ensembles more effectively.

All this time spent with the score will deepen your understanding of the music and make you a more confident, effective, and efficient teacher, and you’ll no longer be left wishing for just one more rehearsal. 0

Joshua Thompson is the Head Orchestra Director at Westwood High School (Round Rock ISD).

Congratulations to the 2025 MARK OF EXCELLENCE COMMENDED WINNERS!

WIND BAND

CLASS A

Barbers Hill MS North Honor Band Cameron Wolfe Mont Belvieu, TX

Cardiff JHS Honors Band Daniel Zavala Cypress, TX

Deerpark MS Wind Symphony Nicole Correa-Kemp Austin, TX

Fairview JH Symphonic Band Angela Klinkner Alvin, TX

Feagin Mill MS Symphonic Band Trey English Warner Robins, GA

Hodges Bend MS Honors Band Aaron Goldfarb Houston, TX

Los Cuates MS Honor Band Criselda Marroquin Morrell Los Fresnos, TX

North Richland MS Honors Band Andrew Reinhart, Patrick Byars North Richland Hills, TX

Richland MS Honors Band Katie Binkley, Aleck Olmedo Richland Hills, TX

Seabrook Intermediate School Wind Ensemble Austin Tran League City, TX

Vista Ridge MS Wind Ensemble Jennifer Alcocer Fort Worth, TX

CLASS AA

Berry Miller JHS Honors Band Chris Bennett Pearland, TX

Blalack MS Honor Winds Keith Marshall Carrollton, TX

Cedar Valley MS Honors Band Pete Alvarado Austin, TX

Central MS Honors Band Noe Ramirez Jr. Weslaco, TX

Diane Gorzycki MS Honors Band Suzanne Glaser Austin, TX

Doerre Intermediate School Symphonic Band Michael Dick Klein, TX

Dowell MS Wind Ensembl Tiffany Lisko McKinney, TX

Ennis JHS Honors Band Steven Bunch Ennis, TX

Faubion MS Honors Band Ryan Gaughan McKinney, TX

Grapevine MS Honors Band Jordan Drake, Andrew Platz, Caleb Hinz, Katie Jobe Grapevine, TX

Highland Park MS Wind Ensemble John Vanhook Dallas, TX

Hudson MS Wind Symphony Heather Becker Sachse,TX

Keefer Crossing MS Wind Ensemble Monica Hester, Isaac Martinez, Matthew Anderson New Caney,TX

Keller MS Band David Puckett Keller, TX

Krimmel Intermediate School Symphonic Band Kristofer McKee, Lilly Arnold Klein, TX

McAnally MS Honors Band Joey Qualls Azle, TX

Page MS 8th Grade Band Evan Burton, Carolyn Hankins Franklin, TN

Roach MS Wind Ensemble Geoffrey Elsner Frisco, TX

Rogers MS Symphonic Winds Joshua Ferman Prosper, TX

S.C. Lee JH Wind Ensemble Kenneth Marina Copperas Cove, TX

Scoggins MS Wind Ensemble Adam Davis McKinney, TX

Smith MS Symphonic Winds Stephen Van Hooser Cypress, TX

Stafford MS Honor Winds Laura Bell Frisco, TX

Ulrich Wind Ensemble Mike Rogers, Mitchell Brackett Klein, TX

Wayside MS Honor Band Dr. Benjamin Shaffer Saginaw, TX

West Lake MS Wind Ensemble Natalia Albacete Atascocita, TX

West Ridge MS Wind Ensemble Alanna Tate Kumme Austin, TX

CLASS AAAA

Castleberry HS Wind Ensemble Josh Perry Fort Worth, TX

Gatesville HS Symphonic Band Jose Sanchez Gatesville, TX

Lake Cormorant HS Wind Ensemble Jamie Young Lake Cormorant, MS

Robinson HS Wind Ensemble Wylie Gore Robinson, TX

CLASS AAAAA

Creekview HS Wind Ensemble Arturo Denis Carrollton, TX

Midlothian HS Wind Ensemble Larry Doran Midlothian, TX

Pflugerville HS Wind Ensemble OD Wilson Pflugerville, TX

PSJA Southwest ECHS Honor Band Tony Flores Pharr, TX

Red Oak HS Wind Ensemble Justin Wood Red Oak, TX

Reedy HS Wind Ensemble Paul Heuer Frisco, TX

Richland HS Honors Band Mike Pickrell North Richland Hills, TX

Summit HS Wind Ensemble Travis Whaley Arlington, TX

CLASS AAAAAA

Clear Springs HS Wind Ensemble Lester Williams League City, TX

James Martin HS Wind Ensemble Babatunde Onibudo Arlington, TX

Jordan HS Symphonic Band Daniel Galloway Houston, TX

L.D. Bell HS Wind Symphony Suzanne Dell Hurst, TX

Lake Ridge HS Wind Symphony Brad Bonebrake Mansfield, TX

McKinney HS Wind Ensemble Brandon Fisher McKinney, TX

North Garland HS Wind Ensemble Austin Taylor Garland, TX

North Shore Senior HS Wind Ensemble Shane Goforth Houston, TX

South Grand Prairie HS Wind Ensemble Michelle Ross Grand Prairie, TX

Tyler Legacy HS Wind Ensemble Justin Threadgill Tyler, TX

NEW MUSIC DIVISION MIDDLE SCHOOL

Cardiff JHS Honors Band Daniel Zavala Cypress, TX

Fairview JH Symphonic Band Angela Klinkner Alvin, TX

Garcia MS Honors Band Joann Prause, Paige Nielsen, Lee Willis Sugar Land, TX

Hamilton MS Symphonic Winds Kyle Stahl Cypress, TX

Hodges Bend MS Honors Band Aaron Goldfarb Houston, TX

Keefer Crossing MS Wind Ensemble Monica Hester, Isaac Martinez, Matthew Anderson New Caney,TX

Ronald Thornton MS Honors Band Thomas Macias Missouri City, TX

Stockton JHS Wind Ensemble Vincent Morris Conroe, TX

Sugar Land MS Honors Band Amanda Payne, Samantha Hernandez Sugar Land, TX

NEW MUSIC DIVISION

HIGH SCHOOL

Akins HS Wind Symphony Jose Flores, Mary Zapchenk, William Kimmell Austin, TX

Clear Springs HS Wind Ensemble Lester Williams League City, TX

Dickinson HS Symphonic Band Risa Hsu Dickinson, TX

Elkins HS Wind Ensemble Joseph Chen, William Phi, Christopher Dial Sugar Land, TX

West Plains HS Wind Symphony Heath Nall Canyon, TX

Special thanks to adjudicators Mary Schneider, Donald McKinney, Col. Michael Colburn, Richard Floyd, and Fred J. Allen

ORCHESTRA

MIDDLE SCHOOL STRING ORCHESTRA

Anthony MS Chamber Orchestra Joanna Schess, Caleb Churchman Cypress, TX

Baines MS Honors Orchestra Lauren Mascioli Missouri City, TX

Dowell MS Honors Orchestra Michael Graber, Christopher Bryan McKinney, TX

Forestwood MS Chamber Orchestra Jennifer McHenry Flower Mound, TX

Fort Settlement MS Sinfonia Orchestra Angela Peugnet, Elizabeth Spencer Sugar Land, TX

Lamar MS Symphony Orchestra Maria Elena Martell Austin, TX

Pearson Ranch MS Honors Orchestra Clarissa Lopez Austin, TX

Roach MS Chamber Orchestra Sarah Hawley, Chassity Rauscher Frisco, TX

Sprague MS Chamber Orchestra Danielle Darrigo, Christina LeBlanc Cypress, TX

West Lake MS Chamber Orchestra Mario Garcia, Olivia Grohn Humble, TX

MIDDLE SCHOOL FULL ORCHESTRA

Canyon Vista MS Symphony Orchestra Ragan Whatley, Jay Hagy, Emily Hornbake, & Rebecca Click Austin,TX

Curtis MS Symphony Orchestra Amanda Su, Clint Schaefer Allen, TX

Dulles MS Symphony Orchestra Marisol Luna, Edward Odeh, Adam Blakey, Elizabeth Hahn Houston,TX

Fowler MS Symphony Orchestra Victoria Lien, Jenny Denis, Haeryun Kim Plano, TX

Sartartia MS Symphony Orchestra Heather Davis, Nicole Elias, Guillermo Teniente, Dong Pham Sugar Land,TX

HIGH SCHOOL STRING ORCHESTRA

Centennial HS Chamber Orchestra Devan Bell Frisco, TX

College Park HS Cavalier Symphony Orchestra Emmanuel Coraza The Woodlands, TX

Cy-Fair HS Chamber Orchestra Lacey Mancilla Cypress, TX

Marriotts Ridge HS String Orchestra James Woomert Marriottsville, MD

Richardson HS Chamber Orchestra Sara Long, Aaron Fryklund Richardson, TX

Summer Creek HS Premier Strings David Irish Houston, TX

Travis HS Symphony Orchestra Sabrina Behrens, John Niiler Richmond, TX

Westlake HS Symphony Orchestra Josue Martinez Austin, TX

HIGH SCHOOL FULL ORCHESTRA

Allen HS Symphony Orchestra David DeVoto, Dr. Philip Obado, Matt Cross Allen, TX

Elkins HS Symphony Orchestra Joe Garcia, Joey Chen Missouri City, TX

L.D. Bell HS Full Symphony Orchestra Allison King Hurst, TX

Special thanks to adjudicators Kayoko Dan and Larry Livingston.

CHOIR

MIDDLE SCHOOL TREBLE CHOIR

Bonnette JH Chorale Courtney Munsart, Evan Burden Deer Park, TX

Danielson MS Varsity Treble Choir Stephanie Rayl Leander, TX

First Colony MS Bobcat Select Treble Tommie Trinh, Josh Sarmiento Sugar Land, TX

McKinzey MS Choir Christi Powell Arlington, TX

McMeans JH Bella Voce Steve Kalke Katy, TX

The Classical Center at Brandenburg MS A Cappella Choir Patrick Hayes Garland, TX

MIDDLE SCHOOL OPEN CLASS

Ereckson MS Select Tenor-Bass Choir Stephanie Petru Allen, TX

Haskett JH Varsity Tenor Bass Choir Christin Abbott Katy, TX

The Classical Center at Brandenburg MS Tenor-Bass Choir Patrick Hayes, Raemey Higgins Garland, TX

HIGH SCHOOL MIXED CHOIR

Bridgeland HS Chorale

Christopher Fiorini, Dolores Noel, Aubrey Erickson Cypress, TX

Chaparral HS Chorale Gerald Nicholas, Eric Bourg Killeen, TX

Elkins HS HS Varsity Mixed Choir John Richardson Missouri City, TX

McNeil HS Chamber Singers Wendi Burwinkel, Sheridan White Austin, TX

HIGH SCHOOL OPEN CLASS

Allen HS Varsity Men Trenton Davis Allen, TX

Bridgeland HS Varsity Tenor Bass Choir Dolores Noel, Christopher Fiorini, Aubrey Erickson Cypress, TX

Granbury HS Varsity Treble Choir Kendra Fisher Granbury, TX

Katy HS Varsity Tenor/Bass Choir Nicholas Likos, True Hernandez Houston, TX

Odessa Permian HS Varsity Treble Choir Laurie Wash Odessa, TX

Special thanks to adjudicator Julie Yu.

JAZZ

MIDDLE SCHOOL JAZZ ENSEMBLE

Vernon Mustang Jazz Orchestra Ricky Guevara Harlingen, TX

HIGH SCHOOL JAZZ ENSEMBLE

Braswell HS Legacy One Jazz Orchestra Matt Sawyer Aubrey, TX

Del Rio HS Jazz Ensemble Aldo Morales Del Rio, TX

Elkins HS Gold’n Blues William Phi Houston, TX

Paschal HS Jazz Combo Collin Caldwell Fort Worth, TX

Special thanks to adjudicator Aaron Lington.

PERCUSSION

MIDDLE SCHOOL PERCUSSION ENSEMBLE

Bedford JH Percussion Ensemble Matthew Kossick Bedford, TX

Joe M. Adams JH Percussion Ensembles Randallyn Holdford Fulshear, TX

HIGH SCHOOL PERCUSSION ENSEMBLE

Dickinson HS Percussion Ensemble Todd Sommer Dickinson, TX

Elkins HS Percussion Ensemble Christopher Dial Missouri City, TX

James Martin HS Percussion Ensemble Lauren Bolton Arlington, TX

Special Thanks to adjudicator Joseph Gramley.

VOCAL DIVISION

JENNIFER GALLAGHER, STATE VICE-PRESIDENT

The grace we give ourselves and others can make this often-tiring part of our year sustainable.

Self-Care in This Busy Season

Educator, author, and speaker Kelly Treleaven created the acronym DEVOLSON, which stands for the “Dark, Evil Vortex of Late September, October, and November.” The shiny, new part of the school year has worn off and we find ourselves navigating the longest stretch without a significant break. The promise of Thanksgiving feels like a distant light at the end of a long and winding tunnel! To read Treleaven’s blogs on this topic, go to www.loveteachblog.com/category/devolson

So, how do we continue to find our joy and maintain boundaries during these long months? So many of my friends and colleagues discuss how important it is to move their bodies in some way. We all know regular physical activity is key to fueling our energy, ensuring solid sleep, and supporting overall longevity and health. But anyone who knows me knows I do not like exercise and that I’m not going to run unless something chases me! Fortunately for me, yoga has helped change my mindset and relationship to exercise and moving my body. While I’m not here to promote yoga, I do want to share some of what yoga has taught me that has translated well into my life realizations and in my work as a choir director.

The practice of yoga has allowed me to center and ground myself, even when I am holding poses that are twisted or upside down! I’ve learned

In Memoriam

Ruben Gutierrez 1966–2025

Jesus A. Salcido 1934–2025

check www.tmea .org for updates

October—Renew membership, purchase liability insurance, register for the convention.

October 31, 4:30 p.m. CT—TMEA scholarship online application deadline.

January 10—Area Vocal auditions.

January 22—TMEA convention early registration deadline.

February 11–14—TMEA Clinic/Convention.

that I can sit with brief discomfort, and I will survive through temporary feelings, even if I don’t like them in a particular moment.

What follows are three main elements of my yoga practice that I believe translate well for our lives as choir directors.

THE INTENTIONAL BREATH

Breathing (or pranayama) is an integral part to all yoga practices, and focusing on it can promote relaxation, reduce stress, and enhance focus. I often find myself using some of those deep breathing exercises outside the studio. One of my favorites is a “lion’s breath” (also known as Simhasana) where you inhale deeply through your nose and then forcefully exhale out of the mouth with the tongue extended and a loud hah or sighing sound.

Another favorite breathing exercise that comes in handy if you have a hard time sleeping at night is a box or square breath (also known as sama vritti). You breathe in for 4 counts, hold your breath for 4 counts, exhale for 4 counts, and hold at the bottom of your breath for 4 counts. If you’re like me and find yourself lying awake with your choir to-do lists occupying your mind, try box breathing.

I find yoga breathing practices grounding, and I use them in my classroom during vocal warmups. I also invoke them when I notice a class is stressed or needs to recenter. To learn more about breathing and the science of how paying attention to the breath can positively impact your mindset, I recommend reading Breath: The New Science of a Lost Art by James Nestor.

FOCUS ON SELF

Several poses in yoga are done with your eyes closed, and the instructors often invite you to focus only on yourself. It is easy to judge ourselves when our warrior pose is not as strong as the person next to us, but by looking inward, we can focus on our personal journey. We can choose to be compassionate with ourselves when we wobble or fall, and if those things happen, we can choose to get right back into our pose.

Many yoga teachers encourage each student to listen to their body and adjust based on what they are feeling that day. This is such critical advice for us to share with our students. As singers, our body is

our instrument, so being in tune with how our body feels is critical to maintaining vocal health and wellness. If it hurts, stop! And then, take stock of what adjustments need to be made so that you don’t continue to hurt yourself. Being mindful of our personal journey is critical in helping us avoid imposter syndrome.

SAVASANA: CHOOSE REST

Savasana, or corpse pose, is often the final pose in yoga sequences. It is an important pose, and many instructors advise students not to skip this meaningful rest time. While physically simple, I often find savasana to be a difficult pose because it’s so difficult for my busy mind to rest! Regardless, I encourage you to regularly dedicate two minutes to slow down, feel, and listen to your breath. This focus will help quiet the constantly running to-do lists or worries scrolling through your mind. Rest is an investment in yourself that always pays valuable dividends.

The grace we give ourselves and others can make this often-tiring part of our year sustainable. So, whether you are a yoga enthusiast or not, I encourage you to find small ways to practice self-care during this busy season. May you give yourself the gift of compassion as you move through this year’s DEVOLSON. I’ll see you on the other side. Namaste!

ZOOM IN ON RECORDING TRACKS

For this column, I’m zooming in on the timeline of the recording process for the Vocal Division All-State tracks. The following is the high-level timeline that we

followed for this audition year:

• Late February–Early March: Vocal Division Vice-President secured conductors, reviewed by the Executive Board.

• April 1: All-State audition repertoire was finalized.

• Mid-April: All-State conductors gave marked scores to the pianists for their practice prior to recording.

• Late April: Pianists recorded accompaniment tracks using Steinway Spirio technology. This year, these tracks were played by our amazing 2026 AllState Accompanists: Andreea Mut, Dr. Young Kwon Whiting, Kerry Baham, and Joachim Reinhuber. Their recordings were edited by Dr. Oliver Lucero and his team at Steinway & Sons.

• May 1: All-State audition repertoire was published on the TMEA website.

• May 15: All-State packets were available for campuses and districts to purchase through the vendor of their choice.

• May–June: Studio time was booked by Educational Enterprises, and vocalists recorded the vocal tracks at Live Wire Studios in Houston (Andy Bradley, recording engineer). This year, these tracks were sung by the following outstanding musicians: Kelli Mikeska Lawless, Chelsea Berner, Zachary Barba, and John Gallagher. Following the recording, Educational Enterprises completed final editing.

• Mid-June: Tracks were available for campuses and districts to purchase through Educational Enterprises.

• May–June: The All-State Resource committee documented IPA, historical context, conductor/composer information, translations, and many more resources. Thanks go to Andrea Loer (chair) and the committee members for their work: Nick Likos, Aubrey Erickson, Alex Bruce, Tammy May, Jake Taylor, Rashaad Calaham, Gyasi Blanton, Scott LaGraff, Christian De la Cruz, and Cesar Galaviz. Diction tracks (recorded in rhythm this year) were completed by Dr. Lisa Borik Vickers and Frankie Espinoza.

When you zoom in, it’s clear to see there are many moving pieces, a variety of personnel involved, and lots of literature to

cover in a short time. Even though nothing will be perfect, I wanted to highlight that there are real people working in real time to provide these services. It’s important to acknowledge the immense work that Educational Enterprises Recording Company and Debbie Talley have done and are continuing to do for our students across our state.

Know that we are always working to improve the process, and I welcome your feedback.

CLINIC/CONVENTION UPDATE

Our annual convention is only four months away! I look forward to seeing you in San Antonio and enjoying so many wonderful opportunities to reconnect, grow, and be inspired! Be sure you register early to take advantage of the lowest fees. Learn more at www.tmea.org/register.

Volunteers Needed: Regardless of how much time you can offer, volunteering to help TMEA is a wonderful way to give back and make meaningful connections with other members. Register at www.tmea.org/volunteer and be part of this incredible team!

Finally, I’m so thrilled that we get to consider the amazing experiences we and our All-State choristers will have as they work with our 2026 All-State Conductors. These extraordinary conductors are certain to offer our All-Staters life-changing experiences through music and community. See the listing below and go to www.tmea.org/ conductors to learn more about them. 0

Jennifer Gallagher is the Choir Director at Shadow Creek HS in Alvin ISD. vocalvp@tmea.org

TMEA Clinic/Convention VOCAL DIVISION

Rehearsals Are Incredible

Opportunities

SOUND IDEAS

VOCAL: NURTURING HEALTHY WORKING RELATIONSHIPS

By Brigitte Smith

Relationships take work. No two are the same and there is no fix-it formula for navigating the challenges that inevitably occur. When you run a choral program with another director, it is very much a relationship that requires attention. Do you each feel supported, appreciated, and challenged? Are you musically satisfied?

After lots of trial and error, I am thrilled that Dawn Sheridan and I recently started our tenth year working together as co-directors at San Marcos HS. We divide the workload equally and trust each other to pick up the slack when necessary. Having worked as a solo director for nine years, I do not take the benefit of our positive relationship for granted.

In 2016, Dawn and I went from being the single directors of our programs to directing a program together. I left the middle school program I had built and moved into Dawn’s established program, and the transition ended up being more difficult than I expected. When I first started working with Dawn, I constantly compared myself to her. Here I was, in my ninth year, navigating new waters, feeling as if I was starting all over again. I was trying not to be the director the students liked less or the one who just wasn’t as good. At the same time, in professional settings with other directors, I often felt marginalized. I was spoken over, unnoticed, and at times simply ignored. This was not what I had signed up for.

I remember questioning my decision because it felt like I had lost my autonomy and that I was just Dawn Sheridan’s assistant now, not Brigitte Smith, choir director. I was in a constant state of doubt. What saved our professional relationship was our determination to make it work.

Rather than looking for work elsewhere or ignoring our uncomfortable tension, we talked. We talked a lot. We had all the necessary and difficult conversations, and because of our commitment, we now enjoy a relationship that works for each of us and, most importantly, for the program. While these challenging conversations are now less frequent, we won’t stop having them, because, just like the students we teach, our needs will grow and change.

As I mentioned at the start, your working relationship will not be exactly like ours. I do, however, believe that every team can strive for their ideal dynamic and be willing to allow it to evolve. A first-year teacher will likely be fine not conducting the 6A Mixed Varsity Choir at UIL evaluation. However, two, three, or four years down the road, consider what they are ready for. Should we always

need to move to a different program to have an opportunity to grow? I do realize change is sometimes necessary, but my hope is that we can reduce the number of times an educator feels held back by their colleagues and sees leaving as their only option. When we build healthy relationships with our colleagues, we will want to lift each other up and support each other’s successes.

Dawn and I have always shared our Varsity Treble and both TenorBass ensembles, but for a long time I was the primary director for the JV Treble Choir, and Dawn was the primary director for the Mixed Choir. Then, during the covid pandemic, we had one “come all” mixed choir that we shared, and we just never went back to the way it had been. Now we share all the choirs and have found that it works for us. Perhaps one day it won’t, and if that happens, we’ll have an honest conversation and make the changes necessary for our program and our professional well-being.

Throughout my tenure, I have worked under my fair share of school administrators and lived through more district initiatives than I can count, but as long as Dawn and I continue to enjoy the positive relationship we have fostered, I’m not going anywhere. I am an equal colleague, I am appreciated, I am supported, I am challenged, and I am musically satisfied. This is why people stay. When we have all these things, should a title really matter? Investing in professional relationships creates longevity in a program and, in return, longevity in our careers. Isn’t that what we all aim for?

If you are fortunate enough to work with a team of directors, whether small or large, I hope our story inspires you to reflect on your team dynamics. Consider these questions: Are you supported? Are you appreciated? Are you challenged? Are you musically fulfilled? If you lead a team as the head director, I encourage you to ask your associates those questions. Are you courageous enough to ask and humble enough to truly listen?

In the end, strong relationships among educators not only strengthen our programs but also contribute to our satisfaction and longevity in this profession. By actively nurturing these connections, we can create a supportive environment that fosters collaboration and inspires growth for everyone involved. 0

Brigitte Smith is in her nineteenth year of music education and is in her tenth year of co-directing the choirs of San Marcos High School.

Cultivating Our Community of Educators

By Yvonne Garcia, Daniel Gonzalez, and Sergio Olivares

Imagine being a young child navigating a world that feels completely new to you and your family. A world that you are the first in your family line to experience. You attend school every day, surrounded by teachers and peers who seem to live in a different world from yours. As you grow through adolescence and progress through your educational journey, you notice that few—if any—professionals look like you or share your experiences. You do your best to navigate this unfamiliar terrain alone, without adult guidance—not because your family doesn’t care, but because they simply don’t understand the world you’re now a part of.

In today’s increasingly diverse society, the future of music education depends on our ability to foster inclusive, culturally relevant, and representative classrooms. As three first-generation MexicanAmerican music educators, we have personally experienced the powerful impact of students feeling seen, heard, and valued in their music classrooms. We understand the importance of building a community of educators who reflect the stories of the students they serve.

The following are some ideas and strategies for educators who are striving to foster more representative music programs. They’re rooted in our personal and professional experience as well as the Texas Education Agency’s demographic reports on our state’s student enrollment and teacher base. Their data shows that while the percentage of Hispanic teachers did increase across eight years (to 30% in 2023–2024), it lags behind the percentage of enrolled Hispanic students (53% in 2023–2024).

To access TEA’s demographic reports and other relevant resources, go to www.tmea.org/cultivate2025 or scan the code.

STRIKING THE RIGHT CHORD

With Parents: Central to building strong relationships with parents is clear communication. While some Hispanic and Latinx/e families face language barrier obstacles that may make communicating a bit more difficult, it does not make it impossible. Using resources like online translation tools and school personnel will not only ensure that your students’ families receive all necessary information but will also aid in creating a sense of belonging for those Spanish-speaking families. Remember that your parental community is more involved and supportive when they understand what is happening in your program, so make an extra effort to reach out to them. Something as simple as providing take-home materials and messages in both English and Spanish will ensure that all parents are receiving the same information.

With Students: Our students thrive when they feel welcomed, included, and valued, and it’s our job as educators to create that environment in our classrooms. To ensure our students feel a sense of belonging when stepping into our classrooms, we must acknowledge the path they walk every day. Talk to them about their cultures and traditions. Be respectfully curious and eager to learn of their everyday life that may differ from yours.

Discussing different cultures and experiences can sometimes be seen as taboo or inappropriate; however, an open dialogue is what fosters an environment where all cultures are embraced. Keep in mind that many Latinx/e families may have different views of and experiences with education, music, and activities outside school. Respecting these perspectives goes a long way in building trust and strong relationships. When students feel seen and valued, they’re more likely to stay engaged and thrive in your program.

With the Community: As educators, our responsibilities do not end once that final bell rings. Being visible outside the walls of our

music classroom can play a large role in the relationships that we build with our students and with our communities. Visibility and engagement within your community can speak volumes. Latinx/e culture is rich with many deeply rooted traditions, so make an effort to attend those events if invited by your students. Whether it’s a quinceañera, a festival, or a church performance, showing up demonstrates that you care. In these moments, families see that you value them and their children beyond the classroom, strengthening your connection to the community you serve.

UPLIFTING REPRESENTATION

In the Classroom: Representation may seem like a small detail, but it has the power to transform a student’s vision of their future. Display posters and other visual materials throughout your classroom that allow your students to see other professionals in the field who look like them. When you invite guest artists or conductors to work with your ensembles, work to ensure cultural representation in those professionals who work with your students. Consider organizing performances at cultural festivals or community events to further strengthen these connections.

In addition to visuals, your language matters, too. Take the time to learn and pronounce your students’ names correctly. Names carry heritage, history, and pride. Many Latinx/e students are used to having their names mispronounced or shortened—don’t let that be the norm in your classroom. If you’re unsure, ask. Even if a student says it doesn’t matter, show that it matters to you! It’s an act of respect. Just like pronouncing their names accurately, if you program a work with a title in Spanish, work to pronounce it accurately, asking your students who speak Spanish to help you. Musical programming is another powerful tool for representation. Hispanic and Latinx/e cultures are rich with a diverse range of traditional musical genres, each reflecting their vibrant heritage.

Help Students Envision a Future in Music Education

• prepare for entry into college music programs

• provide service to their school music programs

• preview the benefits of association membership

Promoting a variety of music styles offers a great opportunity to honor and explore cultural heritage. Introduce students to genres like mariachi, salsa, and cumbia, and select music that reflects the diversity within your classes and ensembles. Not only does this diversify students’ musical exposure, but it also validates and celebrates their cultural identities. It also aligns with the music TEKS related to historical and cultural relevance.

Outside the Classroom: Remember that your students are just that—students! And much like we were at their age, they are learning to balance the various aspects of their everyday lives. As teachers, we have the power of hindsight and learned experiences that they might not have just yet. You might teach students who encounter challenges like limited transportation, childcare needs, rigid schedules, and academic hurdles. Helping support your students in balancing program commitments with their academic and family obligations can help earn the respect of your students and the community that stands behind them. Offering solutions such as flexible practice and sectional schedules can help alleviate some of your students’ burdens.

FOSTERING A MORE REPRESENTATIVE WORKFORCE

Educating students about career opportunities in music education can help them envision music in a new way. This work can include peer-teaching opportunities, composition projects, or exposure to professional performances. These experiences can help students discover a passion for teaching, composing, or performing professionally. Whether through supporting cultural groups or participating in professional development to become more informed, when our students and educators feel valued, our schools thrive.

Equally important is mentorship. Connecting aspiring educators with mentors who reflect their cultural backgrounds and lived experiences helps foster a sense of belonging and purpose. When students interact with educators who look like them and who share similar life stories, they are more likely to believe in their potential to work in this profession.

As we build strong relationships with families, celebrate cultural identities, and advocate for representation, we can transform our music programs into spaces of belonging and empowerment. When students feel seen, their voices grow stronger. When they feel supported, their confidence soars. And when they see themselves reflected in their teachers and mentors, they realize they, too, belong in this powerful world of music. 0

Yvonne Garcia is the Chapel Hill JH Head Band Director (Chapel Hill ISD).

Daniel Gonzalez is the Tyler HS Assistant Band Director (Tyler ISD).

Sergio Olivares is the Bullard JH Head Band Director (Bullard ISD).

TFME campus and district chapters provide students who are interested in a music education career a network of support and information to help them be better prepared to pursue their passion. TFME Members:

Undergraduate and Graduate Scholarships

Application & Materials Deadline: October 31, 4:30 p.m. CT.

TMEA awards over $200,000 in scholarships!

Graduating High School Seniors

• Bill Cormack Scholarship: $3,000/year for up to five years.

• Past-Presidents Memorial Scholarship: $2,500/year for up to five years.

• Past-Presidents Scholarship: $2,500/year for up to five years.

• Executive Board Scholarship: $2,500/year for up to five years.

• One-year scholarships: $2,500 for one year only (multiple awarded).

Undergraduate Music Education Students

Robert Floyd Scholarship for Music Education: $4,000/year for up to four years.

One-Year Scholarships: $2,500 for one year only (multiple awarded).

One-Semester Student Teaching Scholarships: $2,500 for students scheduled to student-teach during spring or fall semesters (multiple awarded).

Graduate Music Students

Graduate Study Scholarships: $1,250–$2,500 for studies during summer or fall 2026 semesters (multiple awarded).

ELEMENTARY DIVISION

LAUREN SUMMA, STATE VICE-PRESIDENT

Start with Gratitude

Teaching is often a mix of reward and frustration, filled with moments that are both inspiring and challenging. Focusing on the positive can make all the difference, and a powerful way to do that is by practicing gratitude.

That’s why I love Good Things, a simple activity from the Capturing Kids’ Hearts process that helps me connect with my students. I use a simple chant at the beginning of each class to give students a chance to share something good that has happened to them. This routine helps us all start on a positive note and builds a foundation of connection and well-being.

Fostering an intentional practice of gratitude that is woven into the fabric of our curriculum can help transform a difficult day into a memorable one. MARK YOUR CALENDAR check www.tmea .org for updates

I want to know all a-bout you Tell me ’bout the good things that you do.

The class and I speak the chant together as I play an accompaniment on my tubano. I then call on three student volunteers to share something good that has happened to them since our last music class. To build a genuine connection, I give each student my full attention, respond personally, and ask one or two follow-up questions. Afterward, I play upbeat rhythms on my drum while the rest of the class turns to a neighbor to share their own good news.

Inspired by my colleague Emma Bassett, I’ve started using student responses as a springboard for musical improvisation. I take the good

October—Renew membership, purchase liability insurance, register for the convention.

October 31, 4:30 p.m. CT—TMEA scholarship online application deadline.

January 22—TMEA convention early registration deadline.

February 11–14—TMEA Clinic/Convention.

Wal-mart Sleep Over Baby Cousin

news shared by my students and match them with rhythmic building bricks. From there, I invite them to choose their favorites to build on (examples shown above).

We speak the selected rhythms four times as a class to get a feel for them. Once students are confident, the fun begins. They are challenged to create and speak their own unique word chains without losing the beat. From there, we transfer these rhythms to unpitched body percussion or instruments before moving on to melodic improvisation on voice, recorder, or pitched percussion. This is a great way to celebrate student successes and organically lead them toward musical creation.

This process has become invaluable for me as a teacher, giving me a glimpse into my students’ lives that I might not otherwise get. While most children share everyday victories, like trips to Walmart with Grandma or weekend sleepovers, sometimes their contributions offer a much deeper understanding of their home lives.

One student shared that she and her mom had traveled for hours looking for a family member who was missing after being released from jail. Though the class was sad to learn the person wasn’t found, the story created an excellent opportunity for students to practice empathy for the student’s grief while acknowledging the strong bond between her family and her. We were able to honor her connection in a deeply authentic and appropriate way.

Being an elementary music teacher is a unique challenge. We’re tasked with connecting with an entire school population, and the numbers can feel daunting, especially when the mid-semester slump hits in October. When I begin to feel symptoms of burnout, I lean on gratitude to get back to an optimistic mindset.

Music itself is the perfect thing to be grateful for. While it’s fun to use a slide whistle to teach vocal contour in kindergarten, hearing a five-year-old exploring her “slide

whistle voice” in the restroom while washing her hands is what truly fills me with appreciation for the humor and magic in this job.

Elementary students feel the effects of this mid-semester slump just like we do. It can bring exhaustion and low motivation, not to mention the sugar-filled chaos of late-night scary movie marathons. While I can’t control my students’ bedtimes or candy consumption, I can make music class the best 50 minutes of their week by building in plenty of student choice and social connection.

One book that I utilize during this time with my first graders is Buffalo Fluffalo by Bess Kalb. The story’s braggadocious character who struggles to connect with his peers provides the perfect starting point for exploring emotions through tone color, movement, and expressive qualities. After we’ve explored the musical and physical sides of emotions, we discuss how to be a good friend, giving students the chance to practice the social skills they need to help their friends and themselves through the slump.

Ultimately, teaching is about more than just lesson plans and academic standards. It’s about nurturing a musical community built on empathy and connection. Fostering an intentional practice of gratitude that is woven into the fabric of our curriculum can help transform a difficult day into a memorable one. The best lessons we teach aren’t just about musical skills. They’re about the connections we make through the creative process and the power of finding something to celebrate every day.

EXPLORING THE TMEA WEBSITE

If you haven’t done so in a while, I encourage you to take some time to explore the TMEA website. It is rich in resources and is your connection to member benefits and services. Among the over 700 webpages that make up our website, three segments are of special importance at this time of year: Membership, Convention, and Resources.

Membership: Even if you already renewed your membership for the 2025–2026 year,

go back to this section of the website. You’ll find information about the benefits of membership, including liability insurance (TMEA offers a low-cost policy to members), the Member Directory, Mentoring Network, and more. Go to www.tmea.org/ membership.

Convention: This area of the website evolves the closer we get to our fantastic annual event, so it’s worth returning to as you start planning your attendance! If you haven’t registered to attend yet, be sure to do so now to take advantage of the lowest registration fees. From the convention webpage, choose Plan Your Visit to find specifics on schedules (including a schedule at a glance to provide your administrators), parking, housing, and how family and visitors can join you. Go to www.tmea.org/convention.

Ready to volunteer your time at the convention? Elementary Division members are fantastic volunteers! So, go to www.tmea.org/volunteer and register today!

Resources: The Teaching Resources segment of our site features a variety of helpful resources, including access to the Music TEKS, advocacy materials, and online learning videos (which offer CPE credit). There are five Elementary-specific videos ready to view, and more on the way soon. Learn from your peers from the comfort of your own home! Go to www.tmea.org/ teaching-resources.

I hope you take advantage of the many benefits of membership, including the resources that are always available to you via our website.

Next month, look for information here on some of our Elementary Division Invited Ensembles (the rest will be featured in the January issue). I look forward to their amazing and inspiring performances and I look forward to seeing you in San Antonio! 0

Lauren Summa is an Elementary Music Teacher at Melba Passmore Elementary in Alvin ISD. elementaryvp@tmea.org

SOUND IDEAS

ELEMENTARY: IT’S ALL FUN AND GAMES IN MUSIC CLASS

By Deborah Edwin

At the start of last school year, teachers were asked to write down a phrase or question that represented what was important to us in the classroom. On my Post-it note, I wrote “Is this fun?” As a reminder, I’ve kept that note on the wall next to my desk ever since. While every day in an elementary music classroom is full of learning opportunities and scaffolded skill development, it should always be fun! I find the best way to keep learning fun is through games.

Elementary music teachers are no strangers to singing games, and in my class, everything is a game (or at least I refer to it as such). What would you rather do: practice reading rhythms or play a rhythm game? Solfège warmup or solfège game? Practice a musical skill, sing a song, or play a game? This is not to suggest there is anything wrong with practicing rhythms, solfège warmups, practicing musical skills, or singing songs. However, for many of our students, especially hesitant singers, the ideas of practicing or learning can feel like a burden or carry negative associations. Games and play are not just to make learning palatable; they are the learning. Play is the world in which kids live and learn.

Let’s jump into the world of play, first for our youngest students and the foundation of musical learning—the steady beat.

READY STEADY MR. YETI

Kids often believe they are keeping a beat simply because they are tapping, clapping, or playing sounds, even if they aren’t doing so at a particular pace. This can be difficult for some young children, as they are still learning to control their bodies in many ways. In Ready Steady Mr. Yeti, students sit in a circle and chant the poem while keeping the beat either with body percussion or an instrument. With body percussion, students use a two-level beat (e.g., pat–clap–pat–clap) as it helps them keep the beat steady as they internalize the downbeats and upbeats.

One student is the Yeti, equipped with giant, white, fuzzy gloves. The Yeti stomps around the circle until the final word when they grab a student with their gloved hands. I instruct the Yeti that they should choose someone who is keeping a good beat. Often, they simply choose the student closest to them, and we let them demonstrate how they were keeping the beat before they put the gloves on and become the new Yeti. Utilizing games such as this one is a great way to help them practice, especially if there is some sort of incentive in the game to do it the right way.

LAYERED SKILLS

To layer another skill on this foundation of steady beat, we can play barred instruments. These instruments present opportunities for students to learn a multitude of necessary skills, holding

mallets, bouncing mallets, aiming at a particular bar. Instrument explorations are a wonderful way to practice these skills, but in the end, we want students to be musical on their instruments.

INSTRUMENT SKILLS GAMES

Often previously learned music skills, like keeping a steady beat, are quickly discarded once a student sits at a barred instrument. Once again, games and play become the best way to encourage this practice. In the Lunch Box Game, students practice steady beat on each isolated pitch, allowing them to not only build the skills to aim at particular bars but also become familiar with the order of the notes on the barred instruments.

When first introducing a particular bordun, I find some students still struggle to keep the beat. The excitement of playing the instruments often brings out their silliness and makes them speed up. Enter the Student Leader Game. You can do this game with any song, and it provides great incentive for students to do it the right way. Bring out one of your coolest, biggest instruments. For us, it’s a bass bar, but it could be a large drum, a gathering drum, or anything that the students will deem special. I tell the students I’m looking for someone who can keep a very steady beat to be the leader and play the bass bar, and then I demonstrate. After repeating the song with students playing the bordun, I choose a student who kept a very steady beat to demonstrate what they did on their instrument before coming to the front to lead on the bass bar.

The game continues in the same way either with the teacher or student leader choosing who kept a very steady beat. For some students this game is enough to encourage them to control their movements to pace the beat properly. It also allows the teacher to observe who is struggling, and now that the class is being led by a capable student, the teacher can give the struggling students the attention they need.

The object of these games differs for students and teachers. For students, the games are about having a turn or getting to do something special. For teachers, games encourage control in playing the steady beat, build muscle memory, and help with assessing students. Have fun with your students! Enter their world of play and constantly ask yourself, “Is this fun?” 0

For more details and notation for the games mentioned here, go to www.tmea.org/2025edwin.

Deborah Edwin is a Music Teacher at Oak Forest Elementary School (Humble ISD).

SOUND IDEAS

COLLEGE: UNIVERSAL DESIGN FOR LEARNING

By Erika J. Knapp

Universal Design for Learning (UDL) represents a research-based educational framework that proactively addresses learner variability by designing flexible learning environments and instructional practices. UDL offers multiple means of representation, engagement, and expression to accommodate the diverse needs of learners (CAST, 2024). Additionally, scholars have demonstrated positive effects for learners receiving UDL-based instruction, with particularly strong applications in music education (Al-Azawei et al., 2016).

Implementing UDL doesn’t require a music program overhaul. Instead, educators can immediately apply these practical strategies across different musical contexts to enhance accessibility and learning outcomes for all students.

EXPERIENCING MUSICAL CONCEPTS

The most fundamental UDL principle involves presenting musical information through multiple sensory pathways simultaneously. This means layering visual, auditory, kinesthetic, and analytical approaches to the same concept rather than relying on singlemodality instruction. Ideas might include:

• When teaching rhythms, combine traditional notation with graphic representations, clapping exercises, and marching.

• Teach interval relationships through hand signs, piano demonstrations, visual staff representations, and physical movements that demonstrate melodic contour.

• Reinforce bowing/fingering/singing techniques with demonstration, verbal instruction, kinesthetic exercises, and video examples.

• For younger children, present steady beat through scarves, rhythm instruments, locomotor movement, and visual beat charts simultaneously.

STRATEGIC STUDENT CHOICE FOR ENGAGEMENT

UDL frameworks support inclusive practices and enhance student engagement when students have meaningful choices in their learning (Chen & Lei, 2024). The key is to provide structured options that maintain educational rigor while accommodating diverse learning preferences. Consider these:

• Allow students to demonstrate understanding through performance, written analysis of technique, or technologyassisted composition. Offer solo and ensemble options.

• Create choice in assessment formats—demonstration through performance, video analysis of professional technique, or peer teaching demonstrations.

• Offer multiple pathways for final projects—traditional research papers, performance with analysis, multimedia presentations, or composition portfolios.

FLEXIBLE SUPPORT SYSTEMS

UDL recognizes that students require varying levels of support at different stages of skill acquisition. Effective scaffolding provides temporary assistance that students gradually release as they develop independence. This approach prevents learned helplessness while building student confidence and autonomy in musical learning. Some strategies might include:

• Design music with multiple complexity levels—beginners play simplified parts while advanced students perform the full arrangement.

• Implement flexible seating that allows stronger players/singers to model for developing musicians. Provide optional fingering and bowing markings that students can use as needed.

• Utilize partner systems that allow students to support one another’s learning. Sectional leaders can offer peer teaching and collaborative problem-solving. Establish peer groups with a mix of experience levels.

• Create assessment rubrics with multiple performance levels that allow students to demonstrate competency at their current skill level while providing pathways for advancement.

GETTING STARTED

Start by auditing your existing practices to identify UDL elements you already use. Then, choose one strategy to implement consistently before adding others. Focus on gradual, intentional changes that build on your existing strengths as an educator. When students can access musical content through their strengths and demonstrate learning through their capabilities, enhanced musical growth becomes achievable for all learners. 0

REFERENCES

Al-Azawei, A., Serenelli, F., & Lundqvist, K. (2016). Universal Design for Learning (UDL): A content analysis of peer-reviewed journal papers from 2012 to 2015. Journal of the Scholarship of Teaching and Learning, 16(3), 39-56. https://doi.org/10.14434/ josotl.v16i3.19295

CAST (2024). Universal Design for Learning Guidelines. https:// www.cast.org

Chen, H., & Lei, J. (2024). Teachers’ and students’ beliefs towards Universal Design for Learning framework: A scoping review. SAGE Open, 14(3), 1-15. https:// doi.org/10.1177/21582440241272032

Erika J. Knapp is an Assistant Professor of Music Education at Texas Woman’s University.

COLLEGE DIVISION

CARTER BIGGERS, STATE VICE-PRESIDENT

By creating safe spaces and nurturing experiences for our students, we further embrace Mister Rogers’ philosophy of making our feelings mentionable and manageable.

Won’t You Be My Neighbor? (Part 2)

As we enter the month of October, there are many things to which we all look forward—the turning of the leaves, cooling of the air, and the soon arriving of the holiday season, to name a few. However, this time of the year is also fraught with challenges—the approaching midterms, “heat” of Bandtober for our marching band colleagues, the work of ensuring our students don’t fall behind in their work (although this is somewhat of a yearlong challenge).

These challenges can and do stir up many emotions in us all, including our students. It is important that educators work to validate these emotions not only in ourselves but also in our students. Mister Rogers would challenge us to teach them that these emotions can be a healthy thing when expressed and understood. “Feelings are mentionable and manageable,” he would say.

MANAGING OUR EMOTIONS

Teaching our children how to talk about and manage their emotions starts at a very early age. Infants have certain emotions “pre-wired” into their brains, and natural reactions such as crying and laughing

October— Renew membership, purchase liability insurance, register for the convention.

October 1 —TMEA College research proposal grant application deadline.

October 3 —TMEA College Fall Conference.

October 15— Research poster session proposal submission deadline.

October 31, 4:30 p.m. CT—TMEA scholarship online application deadline.

November 1 —Collegiate Music Educator Award nomination deadline.

December 15 —College Student Essay submission deadline.

January 22—TMEA convention early registration deadline.

February 11–14 —TMEA Clinic/Convention.

are two great examples of how infants work to express their emotions. Singing songs and playing music are great tools to help calm a child.

Toddlers learn from what they see and hear us do to better express and understand the world around them and the inherent emotions that arise from certain experiences. They learn to adopt strategies to deal with them, like distancing themselves from difficult situations.

As kids enter and progress through the childhood and school-age years, the emotional palette becomes much more complex and challenging to work with. It is important that we continue to guide them in identifying not only the emotions but also what triggers them and teach them how to manage those emotions independently. By doing this, we reinforce with them that what they are feeling is normal and manageable.

MUSIC AS EMOTIONAL EXPRESSION

So how can we, as music educators, guide our students on this emotional regulation journey? I believe many of us are already doing things in our classrooms and programs that accomplish just that without even realizing it. First, we create safe spaces for our students in our classrooms. How many of us find that our music rooms are the places students want to hang out when they aren’t in other classes? I believe the fact that our learning communities are safe spaces for our students is directly correlated to the fact that music is a safe vehicle for processing and expressing complex emotions.

We can further deepen this safe feeling for our students by incorporating emotionbased warmups into our daily routines:

• Vocal Expression Warmups: Using simple vocal exercises like singing ma-me-mi-mo-mu, have the students perform with different emotional qualities or simply have students use wordless singing when they vocalize how they are feeling that day using only vowels and let their voice naturally express their mood.

• Body Movement: Try “emotion walks.” Great for elementary classrooms, students move around the room expressing their varied feelings though their posture and gait.

• Musical Storytelling: Have your instrumental students play simple melodies on their instrument but mix it up by incorporating what it might sound like to play the melody angry or scared or elated. This can help instrumentalists connect their internal feelings to external musical expression.

If you are preparing elementary music educators or are a future elementary educator yourself, I recommend reading last month’s feature article on this topic by Pauline Medlin. You can access the online issue at www.tmea.org/september2025.

DEALING WITH PERFORMANCE ANXIETY

Stage fright is real. Regardless of age, environment, or level of experience, performance anxiety has a way of finding us all. The stressful emotions shrouded in the cloud of performance anxiety can be overwhelming. As educators, we must work to normalize nervousness and teach healthy coping strategies rather than dismissing our fears. Here are three great exercises to help our music students grapple with stage fright. The key to each is regular and consistent implementation.

• Positive Self-Talk: We often approach performance anxiety from a negative bent. Instead, encourage your students to embrace the positive. Instead of saying “What if I mess up?” say “I am ready to share my music.” Instead of saying “I can’t do this,” say “I belong here.” This type of positive self-talk can go a long way to curing the stage fright blues.

• Physical Warmup Routines: Much like athletes who have rigorous preperformance rituals preparing them for the rigors of a game, musicians should do the same. Encourage your students to develop these routines like gentle stretching, shoulder rolls, or shaking out of their hands and arms. Whatever it is, make it consistent. This consistency gives the students something familiar to anchor themselves when the nerves hit.

• Mock Performances: We encourage (and often require) our students to practice on a regular basis. However, this practice is typically a solitary activity. To overcome performance anxiety, we can create low-stakes performance opportunities for our

students in class, providing them an opportunity to deal with nerves in a safe space. Think small at first, performing just for one classmate, and then gradually build up. While this probably will not completely do away with performance jitters, it can help to desensitize students to the nerves of the performance experience.

By creating safe spaces and nurturing experiences for our students in the classroom and on the performance

(and pre-performance) stage, we further embrace Mister Rogers’ philosophy of making our feelings mentionable and manageable. I encourage you to consider how you might incorporate or perhaps reinforce some of these concepts in your own classroom. By doing so, we demonstrate to our students that they are valued and so is what they are feeling.

Extending this topic, I encourage you to read the October 2024 Southwestern Musician article by Dr. Ann Fronckowiak, “Helping Students Overcome Unhealthy Cognitions.” You can access that issue at www.tmea.org/october2024.

TE xES EXAM REVIEW PAGE CALL FOR QUESTIONS

Last month, our initial call went out asking for our division’s faculty members to submit questions for our updated TExES Exam Review page on the TMEA website. Thanks to the leadership and organization of Dr. Eric Branscome (East Texas A&M) and the technical implementation by TMEA staff members, we are close to having a new and improved TExES Exam Review page for our College Student membership.

Before we can make the improved tool available, we need your help with potential questions for our question bank and need you to encourage your colleagues to do the same (especially those teach-

ing music theory or music history). To submit questions for consideration, go to texes.tmea.org and choose the Questions Portal.

COLLEGE DIVISION FALL CONFERENCE

While this issue will be in the mail when our fall conference is underway, I want to offer my thanks to all who contributed to this important meeting. I’m especially grateful to our Committee Chairs and their members for the countless number of hours that they selflessly dedicate to our division and the membership of TMEA. I’ll share full details about our meeting in the November issue of the magazine.

TMEA VOLUNTEERS

Have you ever volunteered at the TMEA convention? If not, I hope you will consider this amazing opportunity to give back to our association. There are many areas in which you can serve, from convention registration to our division office and to serving as a session presider. There is a place for you. Although convention is still a few months away, now is a great time to put it on your calendar to make this the year you volunteer. For more information and to sign up visit www.tmea.org/volunteer.

COLLEGIATE MUSIC EDUCATOR AWARDS

TMEA has so many wonderful offerings for our students. Among them is the

Collegiate Music Educator Award. This program allows college faculty to recognize our finest and most dedicated future music educators from across the state. To nominate students, the student must meet the following qualifications:

• Be a current undergraduate music education student pursuing certification in EC–12 Music.

• Hold a current TMEA membership.

• Graduate in the semester in which they are nominated (most likely currently student teaching).

• Earn a 3.5 or better GPA at close of last semester.

• Have provided significant nonmandatory music instruction or be significantly involved in the local music education community.

The deadline to nominate students graduating at the end of this semester is November 1. Learn more at www.tmea.org/ collegiateaward.

Also, remind your students about the upcoming deadlines of October 31 for scholarship applications and December 15 for submissions to the College Student Essay Contest. 0

Carter Biggers, DMA, is Director of Bands and Associate Professor of Music at Texas Woman’s University. collegevp@tmea.org

SAXOPHONE MOUTHPIECES

Now Made from Start to Finish at the JodyJazz Factory

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COLLEGE OF MUSIC

SOAR HIGHER

Audition Dates

December 5

January 31

February 7

February 20 (Graduate Only) February 28