September 2025 Southwestern Musician

The Best Learning Happens in the Moment

Find What You Need to Teach, FAST!

Your rehearsal time is precious, and every minute counts. But when students hit a roadblock in their understanding — like struggling with rhythms or key signatures — it can slow everything down. Our new feature, Theory On The Go, is designed to keep the momentum going. With access to Breezin’ Thru Theory’s vast resources, you can instantly pinpoint clear explanations, drills or games, create targeted assignments or easily access the full curriculum to build a lesson plan in seconds. Whether it’s for in-the-moment teaching or to support repertoire learning, Theory On The Go is your new go-to tool, because music theory should never slow you down.

Theory On The Go Quickly find Breezin’ Thru content and GO!

Sound Ideas

16 Band by kim garza

26 Orchestra by andy moritz

40 Vocal

46 Elementary.

52 College

. by bonnie mcspadden

glenn

19 Creating a Culture of Excellence by

jason finnels

A culture of excellence demands a clear vision, intentionality, and a commitment to the people and the process.

28 Be the Teacher You Want to Be by

anna jo knight

Whether you have been teaching for years or are just starting in this career, take the time to consider and embrace the qualities you want to embody as a teacher.

48 Nurturing Connections & Fostering Creativity by

pauline medlin

Music educators have a unique opportunity to foster a supportive environment that nurtures our students’ academic and emotional growth.

ON THE COVER: Emily Chávez, now a fifth grader at Morris MS (Pasadena ISD), performs with the Laura Bush Elementary School Music Makers during the 2025 Clinic/Convention. Photo by Karen Cross.

2 From the Editor

4 TMEA News

6 President

10 Band

22 Orchestra

34 Vocal

42 Elementary

54 College

5 2026 Convention Housing Alert

9 TMEA Scholarship Applications

15 Honor Bands and Finalists

25 Honor Orchestras and Finalists

33 Membership Renewal

From the Editor

As we settle into the new school year, many music educators are still processing the information they received from school administrators regarding legislative impacts and the associated changes to school and classroom operations. As music teachers, we must keep the main thing the main thing. The students in our music classrooms and rehearsal halls are our focus. The essential skills, growth opportunities, place of belonging, and lifelong positive impact a high-quality music education provides to all students remain our guide for every action and decision.

In this issue of the 94th volume of Southwestern Musician, your colleagues from across the state provide strategies for creating positive music classrooms that can foster sustainable success, engagement, and a positive culture all year. The three long-form features offer examples of effective classroom management, strategies for developing a culture of excellence, and guidance on how to reflect and refine your voice as an educator. This month’s Sound Ideas authors present division-specific learning opportunities that can be quickly implemented in your classroom and generate positive outcomes for students and educators.

In TMEA News (page 4), I share a legislative update, highlight how TMEA is partnering with sustaining members to support All-State student audition preparation, and provide information about our online housing reservation process.

Our division Vice-Presidents share an initial glimpse into the wonderful clinicians and exciting performances that will be part of the 2026 TMEA Clinic/Convention. I encourage you to read your division’s column each month to stay informed about important division-specific updates and approaching deadlines.

As we begin to navigate this new school year, I’m reminded of D.H. Groberg’s poem The Race. It serves as a powerful metaphor for how we all experience unexpected challenges along our paths. As Groberg writes, each time we fall, we must continue to “get up and win the race!” In the final lines of the poem, we are reminded of the true meaning of winning : “For all of life is like that race, with ups and downs and all. And all you have to do to win is rise each time you fall.”

As music educators, we are committed to our goal of enriching the students we teach and the communities we serve through the unparalleled experiences that music education provides. You are engaged in transformative work and your students critically need your example.

I hope you have a wonderful year!

Joe Muñoz Executive Director jmunoz@tmea.org

Editor-in-Chief: Joe Muñoz

Managing Editor: Karen 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

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

MERLIN PATTERSON MUSIC

UIL Prescribed Music List Selections

J.S. Bach Sleepers, Awake! (published by Manhattan Beach Music)

J.S. Bach Toccata and Fugue in D minor

Hector Berlioz Roman Carnival Overture

Hector Berlioz

Hector Berlioz

Symphonie Fantastique: March to the Scaffold

Symphonie Fantastique: Dream of a Witches Sabbath

Johannes Brahms Academic Festival Overture

Aaron Copland NEW

Aaron Copland

Claude Debussy

Paul Dukas

Appalachian Spring (available on rental from Boosey & Hawkes)

Down a Country Lane (published by Boosey & Hawkes)

The Engulfed Cathedral (published by Manhattan Beach Music)

The Sorcerer’s Apprentice

Edward Elgar Variations on an Original Theme “Enigma”

Edward Elgar “Nimrod” from “Enigma Variations”

Percy Aldridge Grainger

Melody from “Colonial Song”

Percy Aldridge Grainger Mock Morris

Gustav Holst

A Fugal Overture

Gustav Holst St. Paul’s Suite

Gustav Holst The Planets

Charles Ives NEW “The Alcotts” from A Concord Symphony

Leos Janacek Sinfonietta

Gustav Mahler “Adagietto” from Symphony No. 5

Felix Mendelssohn-Bartholdy Overture for Wind Band, Op. 24

Modeste Mussorgsky Pictures at an Exhibition

Giacomo Puccini “Nessun Dorma” from “Turandot”

Sergei Rachmaninoff Symphonic Dances

Ottorino Respighi Feste Romane

Nicolai Rimsky-Korsakov Scheherazade

Gioacchino Rossini

Overture to “An Italian in Algiers”

Camille Saint-Saëns (ClassIBrassSextet) Pas Redoublé

Richard Strauss Don Juan

Igor Stravinsky “The Firebird” Suite

Igor Stravinsky

Igor Stravinsky

The Rite of Spring, Part I

The Rite of Spring, Part II

Michael Torke Javelin (available through Bill Holab Music)

Guiseppe Verdi “Requiem” Symphonic Suite

Heitor Villa-Lobos

Bachianas Brasileiras No. 4

Ralph Vaughan Williams Rhosymedre

Ralph Vaughan Williams Fantasia on “Greensleeves” (published by GIA)

Richard Wagner

Procession to the Cathedral from “Lohengrin” (published by TRN)

Richard Wagner NEW Ride of the Valkyries for “Die Walküre” www.merlinpatterson.com

TMEA News

By Joe Muñoz

With this new school year underway, public, private, charter, and homeschool members are learning more about the impact of the 89th Texas legislative session. While some may celebrate new laws, others may revile their direct impacts or unintended consequences. Regardless of our personal views, we must adjust and navigate through the current educational environment influenced by those changes. It is time to focus on what we can control and direct our energies to that which endures—the positive impact of music education on Texas students and our commitment to providing pathways for sequential study in the arts.

89TH LEGISLATIVE SESSION

While the fine arts funding allotment did not survive to the final version of the public education finance bill, it is important to recognize how much support it received. We plan to build on the momentum and public support with similar legislation in the next regular session.

Public and charter schoolteachers should have received updates related to Senate Bill 12, known as the “Parental Rights Bill.” In part, this bill directs local education agencies’ boards of trustees to create local discipline policies, up to termination, for employees engaging in prohibited DEI activities. You may have received information about how your local school district will implement a parental reporting process related to this.

The educational landscape will undoubtedly change with the implementation of SB 12, and the impact extends to the work of our association, given TMEA is considered a contractor when districts pay member dues and fund other program participation. TMEA has a responsibility to comply with the language in the law that impacts training and contractors, and we will work to protect our members’ continued access to funding sources that support their access to the professional development TMEA provides as a benefit of membership.

Senate Bill 25 is a health and nutrition law. TMEA and the Texas Arts Education Campaign (TAEC) were instrumental in removing a proposed six-semester requirement for physical education classes for junior high/middle school students. The four-semester physical education requirement, as outlined in the legislation, does not deviate from the previous rule and safeguards sequential study in the arts for our junior high/middle school students—certainly something to celebrate.

If you are a new teacher or have not joined the TAEC, please register at www.txartsed.org to stay up to date on our legislative agenda and be a resource when needed to advocate for arts education in Texas.

LIABILITY INSURANCE

Especially as new laws that affect educators are being implemented,

I hope you consider purchasing liability insurance coverage. For more information on the liability insurance TMEA offers at discounted rates to its members, go to www.tmea.org/liability-insurance. If you purchased coverage last year, the policy expired on August 20; be sure you purchase it again for the 2025–2026 school year.

ALL-STATE AUDITION PREPARATION RESOURCES

The TMEA Executive Board approved a pilot partnership with Ensemble Block to offer TMEA All-State audition preparation resources at no cost to all students for band, jazz band, orchestra, and mariachi. Registered students can access reference recordings, lesson videos, annotated music that follows the recording or video, speed-up/slow-down capability, and section looping for individual practice. We hope you will encourage your students to take full advantage of this support. For more information on registering, visit the TMEA Band or Orchestra All-State audition material pages on the TMEA website.

CONVENTION HOUSING RESERVATION SYSTEM OPENS TUESDAY, SEPTEMBER 30

On Tuesday, September 30, at 6 a.m. CT, TMEA’s official convention housing reservation system will open for members. The week prior, TMEA will email members the URL to access the system. To ensure more members have access to these discounted hotels, each reservation session will allow you to reserve only one room. For a preview of hotel rates, go to www.tmea.org/hotelrates.

Based on feedback about last year’s process, there will be no virtual waiting room prior to 6 a.m. When the system opens, if you’re unable to access the reservation page immediately, you will see your place in line with an estimated wait time. This feature has been in place for several years to help manage system load and reduce the chance that a room you select becomes unavailable before you complete your reservation.

Finally, while no one time can be optimal for every member, opening on Tuesday at 6 a.m. CT is based on member responses to a survey about the housing reservation system.

TMEA STAFF UPDATE

Next month’s magazine will include a tribute to the transformational contributions Frank Coachman has offered through his 26 years of service as TMEA’s first Deputy Director. Frank will continue to support TMEA and our new Deputy Director through a transition period, ensuring consistency in service to the membership. We wish Frank well as he begins retirement.

TMEA’s new Deputy Director is Mike Howard, who will begin working at TMEA as you receive this edition of the magazine. You can learn more about Mike and the rest of the TMEA staff at www.tmea.org/about/staff. 0

TMEA PRESIDENT SHANE GOFORTH

How do we balance making music for music’s sake, simply because our souls demand it, with the accelerated and perfected skill development and drive generated by the contests we enter?

Making Meaningful Connections

This summer, I was finally able to fulfill my wife’s lifelong dream of traveling to the British Isles. We had many incredible experiences, but two have continued to resonate in my mind since our return. First was the graciousness and generosity of the people we encountered almost everywhere we went, and second was the fact that so many places we visited had been in continuous use for a thousand years or more.

Walking in and among stones laid a millennia ago was a paradigmshifting experience, but the morning I walked up the Greater Cursus to the sarsen stones of Stonehenge truly recalibrated my view on humanity. Most people have some knowledge of Stonehenge, but fewer have heard about the sister site known as Woodhenge. The henges were connected by a causeway, both with pathways to the River Avon, and archaeologists believe they were built as one large religious or ritual complex. The fact that humans had journeyed to these lands for well over 5,000 years was astonishing, but it was the balance of the place that really spoke to me. Stonehenge was constructed of stone, with its primary focus the sunrise of the winter solstice, and Woodhenge was made of giant wooden posts, arranged around the sunrise of the summer solstice. Two circular monuments connected by a ceremonial causeway, representing the cyclic dichotomy of our existence.

check www.tmea .org for updates

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

September 30, 6 a.m. CT—TMEA convention housing reservation system opens online.

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.

When I returned to my office and prepared for the year ahead, the Salisbury Plain remained top of mind. I contemplated how to find the balance that seemed so organic and important to our ancestors in the program that I am charged with leading. The opposite ends of my spectrum are not stone in winter and wood in summer but rather the juxtaposition of the philosophical and ephemeral nature of music with the pursuit of achievement, often motivated by the competitive nature of our business. More specifically, how do we balance making music for music’s sake, simply because our souls demand it, with the accelerated and perfected skill development and drive generated by the contests we enter?

Music-making is an integral part of our humanity and has been a fundamental expression of our existence for tens of thousands of years. I feel confident that the rituals performed around the winter and summer solstices at Stonehenge and Woodhenge included music. In those celebrations of the human spirit, I doubt any adjudicators were located throughout the processional, critiquing the pitch and rhythmic accuracy of the performance. My money is on those people singing with-

out one ounce of performance anxiety.

For a more recent example, consider 1950s rock ’n’ roll. I love it for the raw and direct way it speaks to me. Yet, to my ear, the musicianship represented on those records sometimes lacks sophistication. When I listen to the simplistic guitar or saxophone solos prevalent on some of those popular recordings, it’s hard for me not to reference the incredible work that jazz saxophone and guitarists were doing at the time. Derision here is not my goal; my point is that they made cherished recordings without the virtuosity commonly demonstrated at the time. They accomplished this by making musical and emotional connections with the listener; those connections are what we as human beings crave so much.

Planning for your year, I encourage you to consider how you might lead in such a way that your students’ performances create meaningful connections with your audiences. First, ensure your students understand the music they are performing. That understanding needs to eclipse the notes and rhythms on the page and include the why and the how of the composition, for

if we desire to have our students make an emotional connection to their audience, they must first make an emotional connection to the music. Second, teach your students to value their audience and relish every performance, whether for a panel of judges or a gathering of parents. Making and sharing music together should be our singular and sustaining motivation.

To find balance, we must also consider the opposite end of our musical duality. The competitive side of our nature is often painted in dark shades, yet we know the technical aspect of musicianship is crucial to performance success. As educators, we realize that it’s also the element of our training that builds so many of the skills that support our students in successful careers outside music. While competition can certainly be an anxiety-driving experience, healthy contests can provide the motivation we all need to operate and perform at our highest levels.

Texas Association for Symphony Orchestras

Elinor Freer

University of Rochester

Eastman School of Music

Despite our noblest efforts, I believe we can admit that we approach the ensembles we take to UIL Concert and Sightreading evaluations with greater intensity and urgency than the ensembles we do not Prizes

Entry Deadline: October 31, 2025

Information: www.tasovolunteers.com

enter to that process. The same can be said of the attention we pay to the individual development of students who choose to participate in the TMEA audition process and those who do not. The problem begins when we see competition as an ego-driving attempt to attain professional respect or fame. We set a myopic focus on achieving goals, like winning a given contest, and then we lose sight of the foundational origins of these activities.

The key to maintaining an appropriate outlook on competitive activities is to view them as moments of accountability or evaluation, markers to help us gauge our growth and progress along a chosen pathway. We should look forward to highquality opportunities to have our work evaluated, for without critique, growth can become stymied by apathy. Creating a positive competitive construct can provide you and your students with the focus and inspiration needed to do your best work. At the very least, you will know that you are teaching your students how

to work successfully within an evaluative framework, providing them with the skills necessary to navigate the countless competitive processes they will face in their professional careers.

As you plan your year and pursue your goals, I hope you find the ideal balance of art and craft—a blend of soulful musicmaking and motivated achievement that nourishes, inspires, and educates your students while creating lasting musical memories. Perhaps one day, many years in the future, someone will look back on your work and find the inspiration necessary to bring balance to their life, as I was inspired by a pair of henges on the Salisbury Plain.

APPOINTMENT OF BAND DIVISION VICE-PRESIDENT

Congratulations go to Mike Howard on being selected to serve as our association’s next Deputy Director. Mike’s incredible insight into our profession and organization will be a tremendous benefit to TMEA for many years to come. I would like to

thank Mike for the sacrificial service and tremendous leadership he provided while he served as Band Division Vice-President.

As Mike steps down from that elected position this month, our constitution provides that the TMEA President appoint someone to fill the position until the next election, which will occur during the 2026 Clinic/Convention. I am pleased to announce the Executive Board confirmed the appointment of Andy Sealy to serve in this capacity.

Andy previously served as Band Division Vice-President and as TMEA President, so I am fully confident that his experience and leadership will prove incredibly valuable as we continue to move TMEA forward into its bright future. 0

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

Undergraduate and Graduate Scholarships

Complete all requirements by 4:30 p.m. CT on October 31.

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).

Your donation helps ensure TMEA can continue to offer over $200,000 in scholarships each year for undergraduate and graduate music study in Texas.

Add a donation when you renew or donate any time at www.tmea.org/donate. Share this with your community to encourage their contributions.

TMEA thanks our members and music industry partners for their generous contributions!

BAND DIVISION

MIKE HOWARD

There is no greater source of inspiration in the music classroom than a passionate and wellprepared director.

Ignite, Innovate, and Inspire

Writing columns for Southwestern Musician has been one of the highlights of my time serving on the Executive Board. As I leave the Board and join the TMEA staff, transitioning into the role of Deputy Director this month, I feel fortunate the early publication deadline allowed me one more opportunity to submit a column. After some reflection, I wanted to share thoughts that might be helpful as you start your year and work toward student engagement and program growth.

As band directors, we must work to ignite a spark within our students, create innovative classrooms, and inspire all who interact with our programs. It is critical that we ensure students are excited about music, as we advocate that every student can and should experience a quality music education.

IGNITE

One of our goals early in the year is to foster excitement for what our programs offer. We need to ignite students’ interest in music. At the start, it is important to teach systems and processes, providing slow and methodical introductions to pedagogical instrumental instruction. With this appropriate instruction as our priority, it’s also imperative that students immediately connect to the excitement and culture of our band program.

In Memoriam

Jim McDaniel 1951–2025

David Plummer 1949–2025

Dr. Douglas Stotter 1960–2025

Evelio Villarreal 1955–2025

check www.tmea .org for updates

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

September 1—All-State etude errata submission deadline.

September 30, 6 a.m. CT—TMEA convention housing reservation system opens online.

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.

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

In my fine arts administration work, I’ve observed amazing directors respond to both priorities in their beginner instrumental instruction. The true recipe for success with a beginner band class is the ability to move very slowly, while constantly presenting information in engaging and exciting ways. I’ve seen beginner teachers ignite a passion for music, while spending several weeks slowly developing student embouchures, rhythmic understanding, and theory. Whether you teach sixth or twelfth graders, what are you doing to ignite their passion for music?

INNOVATE

In my 22 years in music education, one of the few constants I’ve experienced is change. Curriculum will change, students will change, and instructional tools will change. One of the keys to ensuring your program remains relevant to students is the willingness to change with them. As directors we must be willing to innovate. We need to find ways to ensure our classroom culture and instructional delivery meets students where they are.

Musical artistry, characteristic tone,

Arnold

rhythmic alignment, and ensemble balance are all timeless standards within our band halls. Yet, how we deliver these concepts and convince students to engage with them must evolve. Whether we are utilizing new technological tools or instrumental methods, we need to ensure relevance with the age group we are teaching. With this year just underway, ask yourself what you are doing to change with the educational landscape.

INSPIRE

Your students are excited, and you have an innovative plan for instruction. Now what?

It’s time to ensure they keep coming back. There is no greater source of inspiration in the music classroom than a passionate and well-prepared director. Effective programming, fun social events, and the intentional utilization of student leadership all contribute to inspiration and joy within our programs. However, the culture you instill and the way you deliver information has the greatest potential to spark inspiration. You are the one who will convince them to love music as much as

Rosner: Music for Symphonic Wind Band

(first recordings)

Density512/Jacob Aaron Schnitzer & Nicholas Perry Clark, conductors Toccata Classics-TOCC 0756

“Rosner used pre-Baroque harmonies, forms, and processes for Romantic purposes ... a unique personal vision that engaged cosmic questions, matters of spirituality, and intense passions…. Every piece … is an attractive and wholly representative example … an essential entry in the recorded catalogue of Rosner’s works.”

M. Silberstein, Fanfare

you do! Serving as a daily source of inspiration for your students is the best path toward positive program growth and student engagement.

Hopefully, these ideas of igniting excitement, delivering innovative instruction, and inspiring a love of music have motivated thoughtful reflection. As I transition into my new role with TMEA, these are three concepts I will work to apply in my daily experiences with all stakeholders. Serving on the Executive Board as Band Division Vice-President has been a highlight of my professional career, and I look forward to serving all divisions moving forward as we further the mission of igniting a love of music for all!

ENSEMBLE BLOCK PILOT PARTNERSHIP

Please be sure your high school students take full advantage of TMEA’s pilot partnership with Ensemble Block as students begin their preparation on the All-State audition etudes. Access to the TMEA portal is free to high school auditioning students and provides instructional resources, adaptive tempo play-along experiences,

“[I]mpressed with previous Arnold Rosner albums, … I approached this newcomer of wind band works with high expectations. I was not disappointed … The symphonic wind band medium may not be to everyone’s taste, but this fine, varied programme should entice the ear…. [through] the committed advocacy of Density512, a crack newmusic ensemble who audibly believe in Rosner’s music…. [T]he sound … is first-rate. Well worth investigating.”

G. Rickards, Gramophone

“Seven stunning band works by an American master, masterfully presented…. It has been a satisfying experience for me to witness the elevation of the reputation of gifted American composer Arnold Rosner from obscurity to renown … Conductors Jacob Aaron Schnitzer and Nicholas Perry Clark and the Density512 chamber orchestra do a splendid job of bringing this wonderful music to life … A stratospheric recommendation all around.”

D. D. Canfield, Fanfare

STP Carpathians BBb Tubas

Model: STP 202

Size: 4/4

Valves: 4 Rotary

Bore: 0.830”

Bell: 17.75”

Finish: Nickel (N) or Lacquer (LD)

Model: STP 203

Size: 4/4

Valves: 4 Piston

Bore: 0.750”

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Bell: 17.75”

Finish: Nickel (N) or

The STP Carpathians (St. Petersburg) 202 is the instrument of choice for any player looking for a 4/4, four rotary valve, BBb tuba with the best combination of great tone, great response, great intonation, and all of this at a great price! While its compact size is smaller than other full size tubas on the market, this affords a very comfortable fit for any size player. Its large 0.830" bore provides for a free blowing horn that produces a huge sound. All of this together delivers excellent playability throughout the entire range of the horn. Available in nickel plate or lacquer finish, yellow or gold brass. The STP Carpathians (St. Petersburg) 203 is the piston version of the classic 202. It is the choice for all those players looking for the great attributes of the STP 202, but in a piston tuba.

Other Models/Keys:

and in-depth practice techniques for the All-State etudes. For this pilot partnership, performance videos and lessons for band students are limited to TMEA’s band and jazz etudes.

HONOR BAND, INVITED ENSEMBLES, AND PROGRAM SPOTLIGHTS

Congratulations go to all directors who completed applications and submissions for their programs to be featured at our 2026 Clinic/Convention. Your dedication to musical excellence has a profound impact on your students and the band community throughout the state. I would

also like to offer thanks to all the fantastic music educators who served as audition chairs, adjudicators, playback operators, and selection committee members as part of these selection processes.

On the adjacent page is a list of our Honor Bands and Finalists. Congratulations go to these directors, their students, and communities. We look forward to the concerts by our Honor Bands and Invited Ensembles, as well as featured clinics by the Invited Program Spotlight Ensembles in February! In future issues, you’ll learn more about our division’s featured concert ensembles.

TMEA Clinic/Convention BAND DIVISION

60+ Band Division Clinics & Concerts

Steven Davis

Featured Clinician

Learn more at tmea.org/clinicians

Congratulations, Band Division Program Spotlights

Featuring clinic presentations by these programs:

• Gorzycki MS band (Austin ISD)

Suzanne Glaser, Director

• Gatesville HS band (Gatesville ISD)

Jose Sanchez, Director

• Churchill HS band (Northeast ISD)

Amanda Stevenson, Director

CONVENTION UPDATES

I am excited to share that Dr. Steven Davis is the 2026 Band Division Featured Clinician. Dr. Davis has a slate of clinics planned that will provide you with opportunities for inspiration, musical artistry, and innovative teaching techniques. Dr. Davis has provided wonderful All-State experiences for our students in past years, and now attendees will be able to benefit from his pedagogical expertise.

I’m thrilled we are continuing to present Band Division Program Spotlight clinics during the 2026 convention. These three clinics will feature excellent programs and provide us with the chance to learn from these directors and spotlight their students:

• Gorzycki MS Band (Austin ISD), Suzanne Glaser, Director

• Gatesville HS Band (Gatesville ISD), Jose Sanchez, Director

• Churchill HS Band (Northeast ISD), Amanda Stevenson, Director

CONVENTION REGISTRATION

As you consider the amazing performances and pedagogy that are the hallmark of our annual convention, be sure to register to attend. Go to www.tmea.org/ register to complete your online registration or download a form to provide to your district personnel.

Even if your district or booster organization haven’t financially supported your attendance before, I encourage you to ask again. Share information with them about the robust and targeted professional development you will experience and how you can stretch district budget dollars further in our exhibit hall with its hundreds of industry representatives. 0

Mike Howard began working as TMEA Deputy Director on September 1. Prior to joining the TMEA staff, he was Leander ISD Director of Fine Arts, Music, and Performing Arts and TMEA Band Division Vice-President. mhoward@tmea.org

The week of September 22, TMEA will email members the reservation URL to use on September 30. For a preview of rates, go to www.tmea.org/hotelrates.

Congratulations, Honor Bands and Finalists

Join TMEA in congratulating the directors and students of the following outstanding programs!

Class 3A

Commerce HS/Commerce ISD

Wallace

Howe HS/Howe ISD ................................................. Angela Liss 4 Bushland HS/Bushland ISD Alec Bennington 5 Anahuac HS/Anahuac ISD Andrew Kier 6 Hitchcock HS/Hitchcock ISD Kelly Brunson

7 Westwood HS/Westwood ISD ............................... Shayla Skief 8 New Diana HS/New Diana ISD Gary Fort 9 Santa Gertrudis Academy HS/Santa Gertrudis ISD Raymond Mendez

Class

Aledo MS/Aledo ISD

Bosch 4 Dulles MS/Fort Bend ISD..................................Edward Odeh 5 Knox JH/Conroe ISD Jennifer Dillard

6 Hill MS/North East ISD Charles Agueros 7 Faubion MS/McKinney ISD

8 Walsh MS/Round Rock ISD ........................

Troy HS/Troy ISD ..........................................Rustin Honeycutt

Class 1C

Rank School/ISD ..................................................... Director 1 Brewster School/Edinburg CISD Gerardo Reyes 2 William B. Travis Academy/Dallas ISD Donald Kitchens 3 Mineola MS/Mineola ISD.........................Dagoberto Gonzalez 4 Union Grove JH/Union Grove ISD ............. Jonathan Stafford

5 Mauriceville MS/Little Cypress-Mauriceville CISD Jesse Winecoff

6 Applied Learning Academy/Fort Worth ISD Emily Brandt 7 Westwood JH/Westwood ISD .................... Brenna Wilkinson Absolom

8 Santa Gertrudis MS/Santa Gertrudis ISD Sandra Mae Trevino-Mendez 9 Howe MS/Howe ISD ................................................. Julie Cook

West Rusk JH/West Rusk ISD ..................... Stephanie Haffner 11 New Diana MS/New Diana ISD Lance Boland 12 Olney MS/Olney ISD Marilyn Bennett

SOUND IDEAS

BAND: BEGINNER BAND PACING

By Kim Garza

The beginner band year is easily the most exhilarating time in a young musician’s life! Likewise, for directors, it’s a time when we share the joy and privilege of guiding our students into a whole new world. We introduce an appreciation for music and teach them fundamentals for playing an instrument. We help them become part of a unified team where all are welcome in a safe space of acceptance and belonging. It’s all part of helping them develop into good humans and our leaders of tomorrow.

Every detail matters and, as Dr. Tim Lautzenheiser teaches, “How we do anything is the way we do everything.” Keep this in mind as you aim to set your students up for success.

The following are some general pacing strategies that have helped me deliver slow-paced beginner instruction that is fun for students. The objectives we strive to accomplish before beginners advance to the next level can seem overwhelming, but we must resist the urge to rush the process, or we risk sacrificing instructional quality.

PLANNING

When planning, begin with the end in mind. Where do you want your beginners to be by the end of the school year? What skills will they need the following year in their performing ensembles or through competitive opportunities? These questions should guide your lesson planning and pacing. By looking ahead, you can backtrack lessons by grading period, month, week, and finally by daily planning to reach your goals. Below are some suggestions on how to maintain momentum while breaking objectives down into four quarterly grading periods.

FIRST QUARTER

Progress may feel very slow in the first quarter of the school year, especially as students are eager to move on to the full instrument, but the slow and methodical details you teach are critical. A deliberate approach will help prevent bad habits from developing. Be patient! Keep the most basic fundamentals fresh and fun each day with efficient and quick transitions, high energy, and activitybased learning. Remember that every new objective is exciting for your students and brings them one step closer to working with the full instrument. Hype every new skill as it is the next important step to becoming a great musician!

SECOND QUARTER

With consistency and thorough teaching, by mid-October, your students will be well on their way to learning how to play some very simple milestone songs in their method books. As you move

into the second quarter, do not let up on the first-quarter fundamentals. Keep reinforcing daily as you layer in new skills. You will not regret continuing the work with the “tiny instruments” well into the spring semester.

By the end of the first semester, your consistent and thorough approach should yield beautiful tones and proper articulations. Students will begin learning scales (hype these just as learning a lot of fun new notes in a particular pattern) and they will be having fun learning new songs and how to be a performer.

THIRD QUARTER

The second semester is where we continue to build on all instrument-specific exercises to carry on the work with tone, air speed, range, flexibility, and articulation. It’s also the time to introduce advanced skills, such as vibrato. We do a lot of one-octave scale work and build upon that. As motivators, I use chart pass-off incentives, scale wars, scale Olympics, and more. Consider hosting a Fun Day Friday or some sort of show-and-tell performance day that promotes students to also work on music and performing.

FOURTH QUARTER

The second semester and final quarter will be brimming with energy as many beginners get to experience a full ensemble atmosphere for the first time. Hearing all the sounds come together as one is a magical time! While in full ensemble rehearsals, persist with your focus on fundamental work in innovative ways. Make use of call-and-response drills between woodwinds, percussion, and brass while working on essential exercises. Group instrument families together, use around-the-room drills, and continue to utilize your system for learning new music.

Ultimately, you must trust the process. Allow yourself to move slowly to develop proper fundamentals and set your students up for success. You can generate enthusiasm through fun, engaging, and efficient planning, as you keep the quality-over-quantity goal in focus. Carelessly dashing to get to the end of the book will not make your students better. Develop a progressive curriculum that works for you and take the time to foster the details that truly matter. Excellence begins here!

ONLINE RESOURCES

For additional details, go to www.tmea.org/garza2025. 0

Kim Garza is Director of Bands at Jose M. Lopez

MS (North East ISD)

MUSIC MAJOR DAYS

Music Major Day at SEMO is your chance to step into the spotlight. You will have the opportunity to tour River Campus, connect with faculty, and learn about ensembles and scholarships.

Whether you plan to join us for your audition or just to see what the department is like, it is a first step toward turning your talent into a future!

UPCOMING DATES

* Auditions required for select ensembles and scholarship consideration.

Music Major Day: / November 10, 2025 / February 16, 2026

Audition Only Day: / February 28, 2026

Department of Music / (573) 651-2544 / nkenney@semo.edu

Find out more about our

Auditions here: Follow us @semomusic__

MUSIC SWEEPSTAKES BACK TO SCHOOL

Enter for a chance to win a School Music Starter Kit:*

• $600 towards one-year’s rental of a Yamaha wind or string instrument

• One (1) year access to Tomplay ™ - the interactive sheet music app featuring 80,000+ songs

• Yamaha swag - T-shirt, stickers, and reusable water bottle

LAST DAY TO ENTER 9/30/25. VIEW TERMS AND CONDITIONS AT YAMAHA.IO/BTS2025

*Items within this sweepstakes are subject to change.

creating a culture of EXCELLENCE

BY JASON FINNELS

In the music classroom, excellence is not an accidental occurrence. It is the result of intentional leadership, thoughtful curriculum planning, and a program culture that values representation, consistency, and growth. It demands vision, intentionality, and a relentless commitment to both the people and the process.

VISIONARY LEADERSHIP

At the core of every successful music program is visionary leadership. Leaders must have a personal mission and be able to clearly articulate and guide a shared vision that inspires others to rise with us. Whether it’s a yearlong performance goal or a daily behavioral expectation, clarity in purpose drives progress. As my former principal, Keith Fickel, often shared with us during our inaugural year at Crawford HS, we must value “direction over speed.” Having both long-term objectives and short-term strategies creates that intentional momentum toward excellence.

Leadership is also about modeling behaviors, as students and staff tend to reflect what they observe. Leaders who demonstrate their high standards and model empathy, organization, kindness, openness to feedback, and a growth mindset will see those traits reflected in their students and colleagues—this sets the tone for the program culture.

CURRICULUM AND CULTURE

Excellence flourishes in environments with clear expectations and consistent routines. From the way students enter and exit the classroom to the careful planning of lessons, consistency fosters a sense of safety. This safety is the foundation for active participation and effective learning. That said, structure and rigor must be balanced with empathy and kindness, prioritizing a classroom experience of inclusivity, respect, and encouragement. As renowned music educator Paula Crider wrote in her book Beyond the Notes: Thoughts on Meaningful Music Making, “Students want to be part of a welldisciplined ensemble. They would grumble and complain when more was demanded, but they were always willing to go the extra

mile as long as they felt I was demanding more not because I could but because I cared.”

A well-designed and robust music curriculum must be accessible to all students. It is our responsibility to create engaging lessons that encourage every student to excel, regardless of their abilities or circumstances. A student-centered approach puts the needs of all students first and consistently meets them where they are while remaining flexible and adaptable. In performing ensembles, this is especially important for students in sub-varsity groups. These students often make up the majority of a music program, and their success is critical to the program’s long-term growth. I believe these students are the heartbeat of the program and investing in them pays dividends in retention and program identity.

ASSESSMENT AND FEEDBACK THAT MOTIVATES

Frequent assessments and timely feedback are crucial to support each student’s growth. Assessments should be regular and constructive, and the data should be used to drive and inform ongoing instruction. At Crawford HS, we strive to provide feedback weekly to every student in our program. We accomplish this through individual listenings, short one-on-one sessions, or brief recorded assignments. While doing this weekly exercise may not always be possible in a large program or with limited staff, I encourage you to be creative in establishing meaningful avenues for your students to perform for you on a regular basis.

PROGRAMMING WITH PURPOSE

It’s easy to get caught up in the race toward performance goals, but without a purposeful and meaningful approach to selecting music, the journey can easily lack sustainability. Consider repertoire that appropriately informs cultural experiences, diverse backgrounds, and more. When students are studying literature through which they can connect or envision themselves, their interest increases.

Carefully plan each concert or performance cycle and diversify your literature selection as often as possible. Exposing students to a wide variety of compositional styles, techniques, and

nuances provides more opportunities for them to grow. I work to program highquality repertoire by composers with recognizable commonalities to my students and whose music I believe they will find interesting. Additionally, I look for exciting music that will expand their academic capacity, all while having fun in the learning process!

RELATIONSHIPS, RECRUITMENT, AND RETENTION

An authentic culture of excellence is a direct result of maintaining healthy, positive relationships with everyone involved in the schoolwide community. More importantly, recruitment happens daily— not annually. Programs that create a culture in which students feel seen, heard, and supported maintain excellent retention rates.

Investing in our students’ unique interests shows them we care about them, personally and professionally. I have attended many school and club sporting events, dance recitals, and other community events, sitting with parents to cheer on their child. Being present at their games, plays, karate matches, or even having

quick, casual conversations in the hallway communicates that they matter.

Parents are often the most vital advocates for the successful retention and growth of a program. They want what is best for their child and want to ensure they have a positive experience. When our commitment to these priorities is clear to parents, they will more likely support our efforts, volunteer their time, and participate in fundraising activities. Transparency, visibility, and consistent communication are essential in building their trust and facilitating parent involvement.

BUILDING COMMUNITY TRUST

Collaboration with additional stakeholders—administrators, feeder pattern teachers, and community members is essential for any program, and directors must take the lead on behalf of their students. Work to convince administrators; they are valued members of the music program. Invite administrators to your classroom and involve them in performances. Some of my favorite memories as a middle school band director are those where my principals or counselors served as concert narrators or special guests.

Understand that your administrators want everyone on campus to have a positive experience, and they can often provide insight on how to navigate various challenges. For example, our schedules will inevitably conflict with required campus events. It is important to recognize and respect the administrator’s responsibility to lead and make decisions for the entire campus and not just our programs. Approaching these situations with a spirit of collaboration goes a long way. Rather than simply presenting a conflict, offer a proposed solution alongside the concern. When we align our goals with campus initiatives, we gain powerful allies.

BUILDING THE BRIDGE BEFORE STUDENTS ARRIVE

The strength of a secondary music program often hinges on the health of its feeder system. We must make consistent efforts to be visible and involved at all levels of learning, especially at the elementary level! All students within the feeder pattern should sense they are already part of the next level’s program long before they arrive. This familiarity helps build a unified culture that spans multiple campuses.

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This four-year degree includes extraordinary musical training, hands-on clinical experiences, and a six-month internship, equipping you with the skills to support clients' physical, emotional, and cognitive well-being. You’ll study at a Tier One research university connected to the world’s largest medical center and an oncampus medical school, offering training experiences you simply won’t find anywhere else.

As part of your journey, you’ll also have the chance to engage in undergraduate research through the Rhythm for Recovery Lab, exploring how music impacts the brain, body, and emotional healing. Join a vibrant campus community in one of the most musically rich cities in the country and graduate ready to transform lives through the power of music!

Coordinated performances and social events help build a sense of continuity and shared purpose. Moreover, including and inviting all feeder pattern teachers to various events demonstrates collaboration and community among staff.

REPRESENTATION MATTERS

Cultivating excellence also means honoring every student’s story. A culturally relevant program not only acknowledges the diverse backgrounds of our students, but it also celebrates them. Whether through literature selection or learning activities, every voice matters. As students see themselves reflected in the learning process, they are more likely to feel ownership and pride. Additionally, we must intentionally foster respectful dialogue and encourage diverse perspectives in every aspect of instruction.

STUDENTS TAKE THE LEAD

Program culture extends far beyond the classroom and rehearsal space. Social events, celebrations, and digital presence are all key components of a thriving program’s identity. Your program’s online presence is its digital business card—a

space for showcasing student success, highlighting events, and connecting with future families and supporters.

Regarding student leadership, we should encourage our students to identify their strengths and contribute meaningfully to the organization or ensemble. When students feel useful and empowered, they become catalysts for peer growth and positivity.

LIFELONG LEARNING: RISING TIDES RAISE ALL SHIPS

Great directors never stop learning and participating in learning opportunities. Professional development, peer observation, and continual self-reflection are vital. They allow us to model the importance of continual growth for our students. As

we attend clinics, invite others into our classrooms, and visit other classrooms, we demonstrate to our students that learning is continual.

A CULTURE WORTH CREATING

Creating a culture of excellence isn’t about perfection—it’s about purpose. It is about showing up every day with intention, modeling the values you want to see, and relentlessly investing in the growth of your students and your team. When we cultivate with care and elevate with vision, we create programs that thrive! 0

Go to www.tmea.org/finnels2025 or scan this code for access to instructional resources used in my teaching and to online articles that offer additional insights into this topic.

Finnels is the

Jason

Director of Bands at Almeta Crawford High School in Fort Bend ISD.

ORCHESTRA DIVISION

SABRINA BEHRENS, STATE VICE-PRESIDENT

When we spend time getting to know our students and encourage them to get to know each other, we build trust and help develop a cohesive ensemble.

Relationships First

Syllabus? Check. Music copied? Check. Lesson plans? Check. Team-building activities to foster strong relationships? Do we really need this on our to-do list? Absolutely! It is so easy at the beginning of the year to get wrapped up in required administrative tasks that we forget about the real reason that we are in the classroom—the students!

As I returned for my 20th year in the orchestra rehearsal hall, I was still genuinely excited about a new school year. It’s not that I spent my summer looking forward to reviewing the handbook, talking about tuning procedures, or even rehearsing our fall concert music. What I anticipated most was the first day of school and getting to know my students. I’m grateful for a former principal who helped me understand the importance of relationship-building from the start.

We play name games like All of My Friends, Lifeboat, or even an epic tournament-style Rock-Paper-Scissors. Does this help make our music sound better at the fall concert? You bet it does! When we spend time getting to know our students and encourage them to get to know each other, we build trust and help develop a cohesive ensemble.

In Memoriam

Richard T. Gist 1963–2025

Joey Sloan 1968–2025

Timothy Patrick Sloan 1961–2025

MARK YOUR CALENDAR

check www.tmea .org for updates

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

September 1—All-State etude errata submission deadline.

September 15— Honor Orchestra Part A online entry deadline for HS String.

September 30, 6 a.m. CT—TMEA convention housing reservation system opens online.

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.

I try to create moments my students will remember fondly in their adult lives—not just about the music we played together but also about the relationships we formed through the music. “People may forget what you said. People may forget what you do. But people will never forget how you make them feel.” This quote of Carl W. Buehner (often attributed to Maya Angelou) could not ring truer as this year gets underway. Your legacy as a teacher will not be defined by the pedagogy you taught but rather by the relationships you forged through music.

While writing this column, I was deeply saddened to learn of the passing of one

such teacher in my life. While I was not a primary student of Gary Karr, I studied with one of his primary students, Dr. Diana Gannett at the University of Michigan, and while I was there, she invited Gary to work with the bass studio a few times. I took a few short lessons with him and participated in masterclasses; he remains one of the most passionate musicians I have worked with. However, what I remember most about him wasn’t from our time in the music building.

Being the student with the most reliable car, I was tasked with chauffeuring Gary to and from the music building during his stay. In those car rides, he listened to

TMEA Clinic/Convention ORCHESTRA DIVISION

40+ Orchestra Division Clinics & Concerts

Dr. LaSaundra Belcher Featured Clinician

Congratulations, Orchestra Division Program Spotlights

Featuring clinic presentations by these programs:

• David Crockett MS (Fort bend ISD)

Brian Hairston, Andrew Adams-Whitehead, Directors

• paschal HS (Fort Worth ISD)

Christine Glass, Jeremy DeWinter, Directors

my plans for having a solo bass career and releasing solo albums. He genuinely was interested in me and my goals and even asked for an autographed copy of my first album! While my career took a different path than the 24-year-old me had planned, I will never forget those conversations with Gary in my Mazda. He made me feel like I could accomplish anything. It’s the relationship that I remember.

So, as you settle into this new school year, remember those moments you had in the classroom as a student that you still fondly look back on. You don’t have to be a master pedagogue or virtuosic performer to leave a lasting impression on your students. In a November 2021 interview published in The Strad magazine, Gary said, “You simply need to be natural and share your love for music without needing to ‘put on a show.’ ”

CLINIC/CONVENTION UPDATES

In addition to renewing your membership, now is the time to register to attend our annual convention February 11–14, 2026, in San Antonio. This annual event features more targeted professional development for music educators than any other! Learn more about the convention and register to attend at www.tmea.org/convention.

I am thrilled that Dr. LaSaundra Belcher of Shenandoah University and the National Association for Music Education is our Orchestra Division Featured Clinician. She will present wonderful sessions on accessibility, bringing joy to the classroom, and even how to be more successful on your T-TESS evaluation.

I’m pleased to share that almost 90 orchestra clinic proposals were submitted. The wide range and volume of proposals speaks to the breadth and depth of orchestra education, both in the state and across the country. I’m confident the 2026 schedule will include many clinics of interest to you.

The December magazine will feature a full schedule preview, where you can read about all the clinics and their details.

HONOR ORCHESTRAS, INVITED ENSEMBLES, AND PROGRAM SPOTLIGHTS

Congratulations go to all ensembles that participated in this year’s Honor Orchestra, Invited Spotlight, and Invited HS Mariachi process. Our Honor Orchestra adjudicators and Invited Ensemble committee

members all commented about the high quality demonstrated by the performances and applications they reviewed. This is another testament to the amazing teaching that is happening in our orchestra classrooms daily.

Our 2026 Honor Orchestras and finalists are listed below. Look to future magazine issues to learn more about the Honor Orchestras and invited ensembles that will perform concerts in February. You can find a list of those concert ensembles at www.tmea.org/2026concerts.

HIGH SCHOOL STRING HONOR ORCHESTRA

For this year’s High School String Honor Orchestra competition, Part A is due September 15, and Parts B and C are due October 25. Please note this year all documents will be uploaded online, only scores with return postage should be sent to our host site, and payment must be mailed directly to the TMEA office, not included with your entry. 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. 0

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

Congratulations, Honor Orchestras and Finalists

Middle School/Junior High Full

Middle School/Junior High String

Rock

High School String Honor Orchestra finalists and winners will be included in the January issue.

SOUND IDEAS

ORCHESTRA: SETTING UP DOUBLE BASSISTS FOR SUCCESS

By Andy Moritz

As we begin a new school year, let’s take time to look at the bottom line of the score. The sound quality of the basses impacts the sophistication and maturity of an ensemble’s overall sound—more than many might realize. In this brief article, I offer a few strategies that I hope will help directors support their bass players’ development and enhance the overall sound of their ensemble.

There are three immutable requirements for producing a great sound on the bass:

1. The note must be pinned: It must be completely pressed by the left hand for the entire duration of the note, start to finish. “Pin it.”

2. The bow must be squished: The string must be loaded with enough bow weight to activate the string immediately. “Squish it.”

3. The string must be pulled. The vibrating string must be supported by the drawn bow; not too much, and not too little. “Pull it.”

As everything related to setup and tone production is in service to one of those three things, let’s take a more detailed look at each.

PIN IT: LEFT HAND STRENGTH, DEXTERITY, AND ARM SHAPING

Be persistent in reinforcing the whole step shaping of the left hand. Unlike cellos, basses don’t do finger extensions. The entire hand shuttles to different spots (position shifts or pivoting) while maintaining that same spacing between 1st and 4th fingers. Finger dexterity is a byproduct of finger strength; inadequate finger strength yields negligible dexterity.

Pizzicato is the key for developing left hand strength. It is your friend and secret weapon. Don’t skip this kind of finger strengthening, or you risk being fooled by early arco “success.” I have students play everything pizzicato their beginner year. Even after starting the bow, I require perfect pizzicato runs on finger tapes before students attempt arco. I continue to apply this, even with All-State–level players. If they cannot produce a clear pizzicato sound, on all pressed notes, with every finger, on every string, their arco sound will never reach its full potential.

Unlike a cellist, the bass player’s left elbow should not be raised. Raising it would create a bent wrist, which robs the hands and fingers of the strength needed to press the strings. A flat, straight wrist is the goal. To find the correct angle, pretend to pick up a can of soda with your left hand to drink. When the imaginary can is at your mouth, the elbow is likely in the right spot.

SQUISH IT: LOADING THE STRING WITH A CORRECTLY HELD BOW

The characteristic sound of the bass is a deep, resonant rumble that maintains clarity. You experience that sound when the back of the bass vibrates against your body. If the back of the bass isn’t buzzing, the bass probably isn’t resonating.

I often coach tone production by telling a student to use 10 pounds of bow weight and move your bow 10 miles per hour. While these aren’t the measurable values, this reference helps explain whether to use more or less bow weight or speed. You can see whether a student is using enough bow weight by observing whether the stick is flexing toward the hair. This is what they’re squishing. Correctly held bows will achieve squish by leaning rather than hand squeeze.

PULL IT: DRAWING A STRAIGHT BOW, IN THE RIGHT PLACE, WITH A CLEAR SOUND

Keep in mind that drawing a great sound requires the bow to be perpendicular to the string and a correctly held bass sits at a slight angle to the player. So, from the player’s view, their bow usually looks straight but is in fact crooked. To be straight, the bow must be pointed slightly “uphill” from the player’s perspective. That straightened bow will produce a more open tone.

The sweet spot for bow placement is near the harmonic seventh (just below the fingerboard), which establishes a 6:1 ratio of string lengths above and below the bow. This placement point moves as the string length changes with every placed finger.

The idea here is that shifting is a two-handed sport. Each time you shift to a new position, the bow also moves in that same direction. Since the ratio is 6:1, each 6-inch left-hand movement requires the bow to move 1 inch in the same direction. Notice that the five-note movement from open G to the top note of the one-octave D major scale covers nearly 12 inches! This ratio-based concept of bow placement might be the most impactful tone-improving idea you present to your bassists.

With so many ways of playing bass (sitting/standing, French/ German, Simandl/Rabbath) it’s important to keep these three fundamental requirements in mind. Reorienting your central focus to these essential mechanics of bass playing will foster greater tone quality and clarity, accurate intonation, and a more saturated, resonant sound in the section. 0

Andy Moritz is Director of The Bass Studio in Houston.

PROGRAMS AT UMHB

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2026 AUDITIONS

Saturday, January 24

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Learn more music@umhb.edu umhb.edu/music

be the teacher you want to be

By Anna Jo Knight

About 25 years into my 31-year teaching career, I began to feel burned out and realized I was drifting away from becoming the ideal teacher I had envisioned at 22, when I started my career. After much study and lots of soul searching, I came to realize the burnout and loss of identity were very much feeding one another. I began to wonder how I would have fun again and reclaim the person I once dreamed of being in my classroom.

How could I re-engage in this career that had both given and required so much? I needed to reconnect with that idealistic teacher and feed her needs. If you’ve been teaching for several years, this might sound familiar. It’s time to reignite your passion for teaching. If you’ve just started your career, I hope you’ll read on to consider how to keep your teaching dream alive through many years of doing this amazing work.

Throughout this article are opportunities to consider the teacher you want to be. I hope you invest a few minutes in yourself by responding to these prompts.

THE ROAD TO HERE

When we begin in our careers, we often think about those people who inspired us to chase this dream of music. As the years go by, we can lose sight of that inspiration, finding ourselves jaded by the administrative demands of being an educator—paperwork, student apathy, behavior issues, administrative struggles, budgetary constraints, schedule conflicts, and more. I can remember feeling like I was searching for a life vest to keep from drowning in my concerns. It became a struggle to get through each performance before worries about the next deadline were pounding at the door.

How easy it is to lose sight of where we want to be because of where we are heading! The expectations of what our programs should be from administration, the public, and our comparison to the “perfect performance” can overshadow the why of our career choice.

DEFINE WHO YOU WANT TO BE

Let’s look back at that mentor teacher—your muse. In my early years, my organization left much to be desired. My first “lesson plan book” was a box of plans written on the backs of receipts and scraps of paper. While my teaching didn’t reflect that mess, I longed for the organization of my beloved mentor. I could actually see the top of her desk! She was quick witted with a wicked sense of humor.

Another of my mentor teachers was known for her belly laugh that we always heard before the end of each class. Regardless of the topic of the day, she managed to find something to open up and laugh about. By the time we left her class each day, all the students would be in hysterical laughter. She, too, was organized and had an outstanding sense of humor. I was drawn to that combination of organizational skills and the ability to find humor in the mundane. That was what I wanted in my classroom.

These mentors were impeccable in their planning and in their desire to deliver information in a way that the students wanted to learn it. I did implement some of their organizational techniques in my teaching, but after I was further into my career, I realized that rather than building lessons focused on the students and their pleasure in the subject, I was simply going through the motions. I hadn’t employed the belly laugh. In fact, there wasn’t much laughter at all. The inspiration I had gained from being in those two mentors’ classes and then teaching next to them had begun to

SAXOPHONE MOUTHPIECES

Now Made from Start to Finish at the JodyJazz Factory

en

while

diminish. My focus had narrowed to the next performance, the next presentation, the next expectation.

When I realized this was happening, I began my list.

I documented the characteristics that

had lit my fire: an organized presentation laced with fun and laughter. I wanted deep knowledge of my subject matter and the ability to laugh at myself when I mispronounced something or got tongue-tied. I wanted to feel the sheer joy of witnessing my students’ aha moments.

List the predominant characteristics of your mentors, inspirational teachers, and model educators.

PROFESSIONAL FOCUS

In my years of working with educators at all levels, I have found them to be either teachers of pedagogy or teachers of children. To be clear, each type is necessary and vital in education today. I believe the major difference is the primary focus of the educator. What is most important each day in your classroom? Do you tend to focus on the content you want to cover or are you more concerned with the relationship with the students and utilizing the content to develop those relationships?

Instruments Accessories Rental Repair

List your goals for the school year. Then review whether they primarily focus on content or on specific students and what they will learn. When selecting programming (marching show, concert music, elementary program) do you envision the product and what the finale will entail or are you seeing individuals who could fill each role and how it will affect those individuals?

Teachers of pedagogy care very deeply for their students and teachers of children believe in the importance of their subject matter. In music, is the performance itself or the relationships built during the learning of the music the primary goal? All music teachers have some of each, but every person tends toward one or the other and I find it helpful to have a self-awareness of your preference.

Document what gives you the most fulfillment. Then categorize your items as contentfocused or student-focused. For example:

Curriculum being fully covered, light-bulb moments, on-point performances, high T-TESS scores, TIA funding [Content-focused].

Excited faces entering the room, being students’ confidant, knowing enough about each student to have a conversation with their parents in the grocery store, knowing a student’s family tree or even teaching multiple generations [Student-focused].

THE INFLUENCE OF OUR PERSONALITY

What are you like outside the classroom? Do you tend toward chaos or order? Do you like loud or quiet rehearsals? Do you tend toward control or allow exploration

Where music takes shape.

Saturday, Sept. 27, 2025

Brenham ISD Cub Stadium (artificial turf)

1600 E. Tom Green St.

Brenham, Texas 77833

Open for bands in classes 1A-4A

Awards for Class Placement and following:

Drum Major Color Guard Outstanding Soloist

ENTRY DEADLINE: Monday, August 25, 2025

• First 20 entries accepted

• Entry fee includes adjudication and a video of your performance

Scan the QR code for entry form For information, contact: Jill Stewart, Instrumental Music Coordinator jstewart@blinn.edu

and creativity in projects? All these personal characteristics play into what type of teacher you are destined to be. As educators we have the picture of the ideal teacher in mind, and we work toward that. We can forget that we carry our own positives and negatives into our classrooms with us. These are part of our tapestry and shape how our classroom will function.

List your dominant personality traits (whether you view them as positive or negative) and your personal and professional strengths and weaknesses. Think about how willing you are to shift any of them.

Some of us are drawn to the most charismatic person in the room. Others are drawn to quiet wisdom and strength. What do you look for in a hero? These characteristics are probably closely aligned with your mentor/inspiration teacher’s personality. To become more of who we desire to be, we need to understand the characteristics we want to emulate in our lives, inside and outside the classroom.

My dream has always been to be the perfect combination of Carol Burnett, with her quick wit and wicked humor, and Mary Poppins, with her “practically perfect in every way” personality. As perfect as I try to be, I often align much more with the

I hope your responses to the prompts help you visualize the teacher you want (or wanted) to be. Are you that teacher today? If not, perhaps you’ve lost touch with some of the inspiring qualities that give you the potential to soar in your classroom. Take the time to rediscover and embrace them, because every day we awaken with the choice to stay the same or to become a better version of ourselves.

comedienne. Trying to be everything to everyone in my life and classroom, while knowing that there are times a good belly laugh at myself will keep me grounded and this helps me maintain balance.

Write down who you want to emulate (careful not to over-think it). For each name, detail what about that person draws you to them—their attributes. Then review how many of those attributes align with your personality traits.

THE BOTTOM LINE

We are all made to be different. We have chosen a subjective field that defines beauty through so many different mediums. The range of school sizes, areas of content, performance venues, and chosen performance materials are as diverse as we are as a human race.

Each of us gets to choose who we are and how we teach our classes. We get to choose our definitions of success. So, why not choose today to be true to the characteristics you listed as defining personal and professional success?

Live your life without apology. You were made to be here. You are that mentor to a young person who is still trying to navigate parents, peers, and pimples. You get to make that difference for these next generations. Be the teacher you want to be! 0

Anna Jo Knight retired from teaching in May after 31 years of public school education. She is now the administrative assistant in the School of Creative Arts at Wayland Baptist University.

Your TMEA Membership

VOCAL DIVISION

JENNIFER GALLAGHER, STATE VICE-PRESIDENT

Campfire has given students the opportunity to be vulnerable with one another, which has always enhanced our community and our music-making.

Campfire Connections

Educators know that relationship-building is essential to classroom success. To that end, one of the pillars of our choral program at Shadow Creek HS is a time we call Campfire. It’s simply a few minutes of voluntary sharing where we build connections with and among our students. We have a question each Monday, and everyone is invited to share. Only the person with the plush shark (our mascot) speaks while everyone else listens. Students pass the shark from one person to the next, and those who don’t want to share simply pass it along. While we typically begin the year with more basic subject matter, as the year progresses the activity often leads to deep discussions about life.

I got this idea while student-teaching at Friendswood JH with Melissa Smith. Given how valuable this time has become for our choirs, I asked Melissa to answer a few questions about how she hosts this time in her classroom. I thank her for sharing more about this so everyone can benefit!

What questions are best for the start of the year? Keep questions at a surface level to start. With the treble choir that meets first period, I do a morning team-building exercise where we sit on the floor with our coffee/breakfast. I call it Floor O’Clock Coffee Talk

In Memoriam

Barbara Gibbs Corbin 1943–2025

Kandi Poole 1970–2025

MARK YOUR CALENDAR

check www.tmea .org for updates

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

September 1—All-State audition material errata submission deadline.

September 30, 6 a.m. CT—TMEA convention housing reservation system opens online.

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.

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!

with Smizzle, and we take turns answering our Question of the Day, such as:

• What superpower would you choose to have?

• What sound instantly stresses you out?

• What’s your favorite weird smell?

• What physical trait does society consider attractive but doesn’t appeal to you?

Another get-to-know-you activity the students love is Five Minutes of Fame. One person gets their turn in front and others ask questions about them for five minutes. What’s your favorite show? What’s your go-to Starbucks order? Who is your celebrity

crush? You can modify it to 30-Seconds-ofCelebrity to amp up the urgency and give more people a chance to participate in a single class period.

What do you ask later in the year?

As trust is built, it’s time to get real. This is where some of our closest friends are made, and real connections are forged.

• What are you looking forward to most about choir?

• What’s stressing you out right now?

• What is something you wish we did more of in choir?

• What is disappointing about high school/junior high?

• What is something you wish adults

TMEA Clinic/Convention VOCAL DIVISION

Dr. Anthony Trecek-King Learn more at tmea.org/clinicians

Learn from experienced educators, make new connections, enjoy inspiring performances, and get great deals in the

understood about being a teenager right now?

One of my favorite versions of this is the Label Discussion: What’s a negative label you feel has been placed upon you that you wish you could peel off and replace with a label that introduces you the way you wish people would see you?

What if a student doesn’t want to share?

Sharing is always optional. Plenty of students choose to listen and absorb. At the end of the year, I’m always pleased when some of these students express how meaningful Campfire was to them. They explain that hearing the answers made them feel not so alone in their experiences, and it revealed certain classmates as safe to talk to because they had shared similar experiences.

What if a student over-shares?

I’ve definitely been there. Over the years I’ve learned to discern when a discussion is approaching that level. When that happens, I often simply raise my hand and gently suggest that, to allow time for others the opportunity to share, this student and I can dedicate some time later to pick up where they left off. In private, I might suggest the student could benefit from a longer share session with one of our counseling staff.

How do you ensure one student doesn’t monopolize the time?

Like your use of a shark to designate the speaker, I use a stuffed pig. It serves as a lighthearted reminder that no one should hog Campfire minutes.

What ideas do you have to elevate the Campfire experience?

Incorporate food, crafts, or any other special tradition. For example, our advanced treble choir makes holly crowns that we wear for our holiday concert each year. They also have White Belephanto, a white elephant gift exchange we usually do each December in the days leading to the holiday concert. I strongly suggest establishing an activity that becomes each choir’s tradition unique to them.

Convention Hotel Reservations Open September 30, 6 a.m. CT

The week of September 22, TMEA will email members the reservation URL to use on September 30. For a preview of rates, go to www.tmea.org/hotelrates.

I thank Melissa for sharing more about these fantastic ideas!

I’m also pleased to offer another extension on building camaraderie, which comes from Raegan Grantham (Jordan HS). Raegan plans this activity for later in

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

Katherine Martz Instructor, Bassoon

Elizabeth Lee Asst. Professor, Cello

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

the year, after the students have gotten to know each other on a deeper level:

One student sits at the front of the room, facing the choir, and the choir takes 30 seconds of silence to think positive thoughts about that student. They are then invited to share compliments about the student (none can be about physical appearance). It’s a wonderful exercise in both giving and receiving compliments and it builds others up in a truly meaningful way.

While Campfire and compliments are not singing nor rehearsing, this culturebuilding is time well spent. Our students are able to be vulnerable with one another, which has always enhanced our community and our music-making. Our ability to discuss emotions and feelings about the music and text is profound. Beyond that, our students have a regular opportunity to share, listen, be heard, and be seen as the complex, interesting, thoughtful, and hilarious people they truly are. Happy con-

There were over 130 applications, ranging from middle school to collegiate level, and 14 choirs were selected to perform concerts. It’s important to note that when a choir performs a concert at our convention, all choirs from that campus must wait three years to apply (e.g., choirs from a campus with a 2025 Invited Choir are eligible to apply in 2028 to perform a 2029 concert).

The online application opened on March 1. Applications included the director’s proposed concert program and recorded tracks from live performances that spanned more than one academic year, with one required to be a cappella. For more details on the recording requirements and more, go to www.tmea.org/invitedchoir.

TMEA members served on committees to evaluate and rank the applications— their contributions to this process were invaluable.

Collegiate/University Committee Members: Dianne Brumley, Matthew Coffey, Kaitlin

Iliana Guerrero, Amber Moon, Patrick Newcomb, Katie Patel, Kelsie Quintana, Joshua Sarmiento, Sara Trammell, Tommie Trinh, and Michael Ware. First-round committee members scored each recording at this level, utilizing the published rubric (with no identifying information about the choirs). Based on their rankings, a set of recordings advanced to the second round. Second-round committee members evaluated the recordings along with their proposed concert programs. As a group, they ranked the applications.

Our goal for final selection was to include ensembles from as many classifications and geographic locations as possible.

Having submitted an Invited Ensemble application several times myself, I understand the work required to carefully compile recordings, secure documentation, and develop a proposed program. My gratitude and congratulations go to every choir director who took the time to be part of this process. It is with this strong and diverse representation of choirs from across our state applying that we can consistently enjoy amazing performances at our annual convention. I look forward to this continued tradition of excellence, and I welcome your feedback along the way.

CONVENTION UPDATE

I’m thrilled to share that our Vocal Division Featured Clinician will be Dr. Anthony Trecek-King. He offered such wonderful inspiration to our All-State Treble Choir this past February, and I look forward to the incredible pedagogical insights he will share during his featured clinics. The December magazine will include a full schedule preview, and you can find more information online at www.tmea.org/

As you think about the amazing performances and professional development that will happen all under one roof next February, be sure to register to attend. Go to www.tmea.org/register to complete your online registration or download a form to provide to your district personnel. 0

Jennifer Gallagher is the Choir Director at Shadow Creek HS in Alvin ISD.

SETH DAVIS LECTURER OF MUSIC

SOPHIA JUNG

LECTURER OF COLLABORATIVE PIANO

SPENCER HARTMAN

ASSISTANT PROFESSOR OF FLUTE

MEET OUR FULL FACULTY

SCAN HERE FOR A FULL LIST OF OUR ESTEEMED FACULTY

BRITTANY FOUCHÉ

ASSISTANT PROFESSOR OF VOICE

EMMA LOUISE STEINER

VISITING ASSISTANT PROFESSOR OF VOICE

BENJAMIN HOLMES

ASSISTANT PROFESSOR OF PERCUSSION

LET’S CONNECT FOLLOW US ON SOCIAL MEDIA

SOUND IDEAS

VOCAL: STRATEGIES FOR A SUCCESSFUL START

By Antionette Harris

There’s something truly energizing about the beginning of a new school year—the fresh faces, a blank calendar, and the anticipation of what’s ahead. I always return excited to reconnect with students and dive into another year of music-making and memory-building.

While there is much enthusiasm, there’s also some stress. The start of a new year can be overwhelming—even for seasoned educators—with new students, music, systems to set up, and a mountain of paperwork. By now, you’ve probably distributed your handbook, set up a communication platform like Remind or Google Classroom, and chosen your fall repertoire. You might have started voice placements and team-building activities to get to know your students better.

Even with these essentials in motion, it’s easy for some tasks to slip our minds during this busy time. I hope the following checklist can help ensure a smooth start and prevent any important details from being overlooked.

KNOW YOUR BUDGET

If you’re new to your campus or district, familiarize yourself with the budget and purchasing procedures. This is key for managing music orders, uniforms, T-shirts, and entry fees. Meet with your fine arts coordinator, bookkeeper, or principal to understand how to access funds, submit purchase orders, and stay within budget.

You’ll likely need to buy new music or uniforms at the start of the year, so understanding the process is crucial. Also, check the timeline for initiating fundraisers, as they can take time to set up. Add any planned fundraisers to your calendar to avoid delays.

JOIN OR RENEW YOUR TMEA MEMBERSHIP

To take advantage of any benefit of membership, such as entering students to auditions, you need to join or renew your membership so that it’s current. If your district pays your dues, know that their processing will add time. Check with your bookkeeper now to ensure they submit payment for your membership well before any deadlines.

ENTER STUDENTS TO REGION AUDITIONS

Be sure to carefully check deadlines and associated policies. Register your students as early as possible to avoid late fees and to give yourself time to address potential issues or mistakes with the entries. Be sure to confirm your students’ eligibility for UIL participation with your school’s administration.

DISTRIBUTE YOUR CALENDAR

One of the most important tasks to complete early in the year is

distributing a comprehensive calendar. Include all rehearsals, concerts, contests, fundraisers, and other key events. The more lead time your students and their families have, the easier it will be for them to plan their schedules accordingly.

A well-organized calendar will also help ensure there are no conflicts and allow you to coordinate with other departments or organizations as needed. Don’t forget to submit your requests for facility usage early, whether for rehearsals or special performances. These requests can often take time to process, so the sooner they’re in the system, the better.

ARRANGE TRANSPORTATION

For off-campus events or performances, such as singing at a football game or attending a choir retreat, be sure to schedule transportation as soon as possible. Many school districts require advance planning for buses and other transportation, and these resources can get booked quickly. By requesting early, you’ll minimize the risk of last-minute scheduling problems and ensure your students have everything they need to participate.

GET ORGANIZED

A digital checklist or binder system can be a lifesaver when it comes to managing all the forms, payments, and deadlines happening at this time of year. Keep track of everything from field trip forms to music orders to student registrations. Having an organized system in place from the beginning will help you stay on top of deadlines and prevent important tasks from slipping through the cracks. Don’t forget to regularly review and update your systems throughout the year to keep everything running smoothly.

EXTEND GRACE

The start of the year can be overwhelming, but remember to stay flexible and extend grace to yourself and others. No matter how well you plan, unexpected challenges will arise. What matters most is how you respond, both for your peace of mind and as an example to your students.

Teaching isn’t about perfection—it’s about creating a positive, supportive environment. Be kind to yourself through the challenges and remember that your students are fortunate to have a director who cares deeply about their success and well-being.

Happy singing and have a fantastic school year! 0

Antionette Harris serves as the Director of Choirs and Fine Arts Department Chair at Wagner HS in Judson ISD.

MUSIC SCHOLARSHIPS TO

NON-MUSIC MAJORS!

FEBRUARY 20, 2026 DEADLINE

TRINITY UNIVERSITY WELCOMES NEW FULL-TIME FACULTY

DR. RYAN HAGLER ASSISTANT PROFESSOR, JAZZ

STUDIES

DR. MELISSA LEIGH CAMP VISITING ASSISTANT PROFESSOR, MUSICOLOGY

BM

MUSIC EDUCATION PERFORMANCE COMPOSITION

BM

MUSIC

MUSIC MINOR

MAT

(MASTER OF ARTS IN TEACHING) 5TH YEAR PROGRAM FOLLOWING THE BM

• Faculty who focus on UNDERGRADUATES

• Frequent national and international ENSEMBLE TOURING

• 100% JOB PLACEMENT for music ed majors (35+ consecutive years)

• 16 ensembles, private lessons, and chamber music available to ALL STUDENTS, regardless of major

• 11 FULL-TIME music faculty + 22 applied artist-teachers

• Located in CULTURALLY VIBRANT San Antonio

• Study at one of the nation’s top liberal arts institutions

ELEMENTARY DIVISION

LAUREN SUMMA, STATE VICE-PRESIDENT

Engaging in calculated risks in your teaching can lead to more creativity and innovation in your daily work.

Creativity and Risk-Taking

Iam passionate about supporting students emotionally as they grow through learning experiences. That might be because I teach at a school with special programs for students identified as having emotional disturbances. These students are intelligent, funny, compassionate, and hard-working, and they can struggle to cope with disappointment in socially acceptable ways.

Promoting emotional well-being encourages risk-taking and provides opportunities for students to be successful in a mainstream classroom environment with their peers.

In his article “Schulwerk Provides Structure: Developmental Artistry” published in The Orff Echo, Roger Sams states that musical experiences are “not reserved for those with the most mature skill sets and understandings, but rather is available to all of our students when we: cultivate safe space for exploration, empower them with developmentally appropriate skills, provide them with literature that inspires their creativity, and create structures that support their artistic expression.”

NORMALIZING MISTAKES

Normalizing mistakes is a priority when creating an emotional safety net for students. I do this by demonstrating and then practicing the

In Memoriam

Scott Strobel 1964–2025

www.tmea .org for updates

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

September 30, 6 a.m. CT—TMEA convention housing reservation system opens online.

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.

skills needed to reframe mistakes as an opportunity for growth instead of a sign of incompetence.

Walk your students through failure before attempting tricky tasks. When you see students using their strategies to manage disappointment, provide specific positive feedback by letting them know you value their efforts.

“Whoa!” I’ll say when I notice a student lost their place in the song. “Instead of banging on their instrument in frustration, they stopped, took a breath, listened,

and came back in at the beginning of the phrase. That is tricky! Great job!”

Model taking artistic risks for your students and let them see you fail. When the class is working on a canon, I allow the students to select when the second part should enter. The class sings part one, and I attempt to perform part two the way they requested. They love to challenge me by choosing the least intuitive entry point and revel in the disaster that ensues when I crash and burn. When I laugh along with them and help them find a more appropri-

ate starting point, they’re learning how to function when things are not perfect.

Music class is about more than just skill mastery. It’s about being vulnerable and growing together as a community through the artistic process. Active music-making in independent groups is the perfect vehicle for building connections, self-esteem, and endurance in students.

By establishing systems, procedures, and rules, you can help build the confidence that empowers children through openended group work.

TURNING OVER CONTROL

I have not always been a risk-taker in the classroom. When I first started teaching, I was scared to even let students out of their seats, much less give them control of the

Presenting a learning experience with no defined product can be scary. Teachers need structure and predictability as much as students do. If you’re feeling insecure about giving students control, take time to explore calculated risks and develop some self-awareness of your strengths and

Calculated risks allow for an acceptable level of failure. Setbacks are chances to learn and grow; they don’t define your limits. Engaging in calculated risks in your teaching can lead to more creativity and

Self-awareness is key. Understand your personal strengths and limitations when identifying risks to take in your professional life. Have a support system of trusted colleagues there to help you uncover the lessons learned through the process. Fear of failure is real and influential. Knowing yourself and creating a cohort of likeminded peers can help you set realistic

Here are a few ways you can build a classroom environment where students feel comfortable taking chances and making

• Observe Behavior: Objectively observing student behavior allows you to modify lessons on-the-fly, keeping students physically and mentally safe.

• Teach Group Work Skills: Demonstrate the behaviors you expect to see in a group work setting, provide opportunities for guided practice, and allow students the freedom to apply their knowledge through independent work.

• Separate Artistry from Mastery: Exploring artistic choices should be independent from the assessment of skill mastery. Creative experiences should feature known skills and media.

• Provide Curated Choices: Carefully curate the options available to students when creating and exploring. Presenting too many learning objectives and musical options creates confusion.

• Move Slowly: Allow groups to move at their own pace by requiring students to complete a step in the process before informing them of the next task. Artistic exploration is about the experience of creating, not the final product.

There is strength in the unknown. Creativity and risk-taking are inherently linked. Empower your students as artists by planning ahead for group work and artistic exploration. After all, what happens if you make a mistake? You learn to embrace ambiguity and learn from your experiences.

RENEW YOUR MEMBERSHIP

If you haven’t yet, it’s time to renew your TMEA membership! Visit www.tmea.org/ renew to learn more about the benefits of membership. Don’t forget to update your contact information if you’ve changed schools or districts.

LIABILITY INSURANCE

Did you know you can purchase liability insurance through TMEA? Comprehensive liability insurance is only $30 per year for TMEA members. This policy covers you for a full school year (August 21 to August 20) and safeguards against financial losses from lawsuits related to your role as an educator. Now is a great time to take advantage of this membership benefit!

CLINIC/CONVENTION UPDATE

The TMEA convention will be held in San Antonio February 11–14, 2026. Registration is open now! The 2026 con-

vention will feature exciting Featured Clinicians, student concerts, and teachers from around the state ready to share their pedagogical knowledge with you. The convention schedule and full clinic details will be featured in the December issue of Southwestern Musician, and you can always learn more at www.tmea.org/ convention.

Go to www.tmea.org/register and complete your online registration or download

a form to provide to your district personnel. Even if your district hasn’t financially supported your attendance before, keep asking. Tell them about the high-quality professional development delivered in the 60+ clinics targeted for elementary music educators. 0

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

Melissa Fuller Flores David Row

SOUND IDEAS

ELEMENTARY: HABITS WORTH CULTIVATING

By Bonnie McSpadden

Whether healthy or detrimental, our habits provide a subconscious foundation for how we live our lives. When our personal or professional circumstances hit a rough patch, we come face-to-face with the power our habits hold. Nevertheless, habits are not set in stone. Just like other growing things, habits can be pruned or cultivated based on our needs. Consider how you might nurture the following habits to your benefit:

Document joy. How might our daily outlook improve if we documented the joy that occurs in our classrooms? After all, joy is infectious. We can catch joy from the voices of second graders who have learned how to sing in a round without shouting or from the echo of children on the playground, singing a song we taught three weeks ago. Look for joy, receive it, and remember it.

Honor student names. Nothing conveys the respect we have for our students quite like how we care for their names. My dear friend Tobey Unrath, a veteran music teacher of 51 years, once shared a touching story that illustrates this importance. One day a student said to Tobey, “Mrs. Unrath, I know you love me!” Tobey asked, “How do you know?” The young student replied, “I know you love me because you sing my name.”

Practice sincerity and grace. We model kind sincerity to our students not only in how we speak to them, but also in how we speak to and about others in their presence. Even our oldest fifth and sixth graders don’t fully comprehend sarcasm. Furthermore, any communication that our students perceive as insincere will erode their sense of safety in our classrooms. Make grace part of the plan. Schedule due dates so that late orders are possible. Keep extra choir shirts on hand for when they are forgotten. There are plenty of times when extending grace is not within our power, so when it is, we should give it.

Sing together in every class. Singing is free and requires no setup, and when used to build community, it is a superpower! Singing is good for our bodies and brains, as it is active and joyful. Even on days when it is not the primary mode of instruction, let’s include singing.

Promote pro-social behavior. Prioritize musical experiences that promote social interactions. Singing games are the perfect modality to practice real-life conversational exchanges, complete with opportunity for low-risk eye contact and gesturing. Let’s leave our phones on our desks, turn off our screens, and become the lead

participant. Gather students together and read them a physical book. Sing a cappella. Normalize holding hands as part of a kindergarten game so that eventually your future third graders will be able to play a game that includes hand-holding.

Reduce, reuse, and research. Reduce discretionary tasks that lack function or steal joy. For me this means that I no longer staple things on the walls—no decorations, no performance backdrops. Reuse great songs and activities. Reprogram the showstopper piece your choir loved last year, and you’ve created a tradition! Research song repertoire to ensure it is free of objectionable content or questionable origins. When choosing music that represents a culture, look for recordings and arrangements created by or approved by culture bearers who work to preserve and transmit the traditions of a given culture. When in doubt, do more research and ask questions.

Communicate with your community Invite your community to experience the joy of the music room through consistent communication. Use all available platforms to advertise performances. Automate regular reminders by writing and scheduling them all in advance. Write phone scripts and templates that can be quickly modified to address behavior matters. Take time to acknowledge the support given to you and your students by others by writing thank-you notes.

Seek collaborative growth opportunities. Identify areas where you have pedagogical gaps and seek training. If your vocal or instrumental skills are lacking, consider private lessons, and schedule some time to practice. Join the community orchestra. Sing in the choir of a local church. Attend a songwriting workshop. Engage with your colleagues to learn and grow together.

Prioritize physical and mental health. Our habits related to sleep, exercise, and diet significantly affect our ability to function. Pay attention to your body—it’s the only one you’ve got. Make sure to keep substitute plans updated and ready, so that when an absence is necessary, it doesn’t lead to added stress. While this is the final habit on the list, it’s one of the most crucial; we must take care of ourselves to be a positive influence on our students. 0

Bonnie McSpadden, MME, is a music specialist at WoodCreek Elementary School, Katy ISD.

Nurturing Connections & Fostering Creativity

By Pauline Medlin

Anew school year brings excitement, but it may also bring anxiety. Last month, students walked into new schools and classrooms across the country. While many returned to our spaces for their third, fourth, or even fifth year, others arrived for the first time. As we welcome them, we have a unique opportunity to foster a supportive environment that nurtures both their academic and emotional growth.

Our classes and curricula help students articulate self-expression and understand how music can reflect emotions. This naturally supports students in their understanding of self-regulation. While we expect adults to have skills to recognize and regulate emotions, as social psychologist Jonathan Haidt writes, “Childhood is an apprenticeship for learning the skills needed for success in one’s culture.” 1 Thus, it is not surprising that our students have not developed those same necessary social-emotional skills.

MEANINGFUL CLASSROOM MANAGEMENT

Quality classroom management is built on meaningful relationships and requires safe boundaries. When both are present, students feel secure to create and explore. We foster relationships through meaningful greetings at the door, knowing each child’s name, avoiding favoritism, and taking a genuine interest in our students.

One of the most basic forms of boundaries is giving each child

their space and place. This creates a routine and helps teachers learn names. Find a creative way to let students choose their seats, maintaining an overall seating chart. Since you teach most of the students in the school, you can positively impact school culture by establishing standardized procedures and expectations for how to sit, listen, engage in conversations, interact in a group, be an audience, and enter or exit a room. These are excellent ways for you to work proactively with your administration to build a mutually beneficial culture where all voices are honored and heard.

Effective pacing is critical in classroom management. Consider where you most often lose student attention and adjust the pacing accordingly. Young students often mentally move much faster than adults because children learn by doing. When students participate, they are less likely to disrupt the class. Thus, transitions are often where class disruptions naturally happen. Slide decks, or any other preset tools that allow for a smooth transition, are invaluable. Keeping students engaged and active as learners in class also requires thoughtful consideration of how to scaffold the lesson. What steps do you naturally process internally that will require demonstration or explanation? Is there a way for students to discover an element of the lesson? Though there is a time investment in preparation, the stress it saves during class is worth it.

MANAGING BIG EMOTIONS

Self-regulation requires practice. Can you use a few moments in

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each lesson to teach a new self-regulation strategy? Initially, students will require assistance in identifying and applying these strategies. Remember, they are slowly developing into whole-brained adults, more in tune with their emotions.

The first step is helping students recognize when they are becoming dysregulated. I find it effective to utilize the blue–green–yellow–red temperature gauge. You can teach students that when an engine is struggling to start, the gauge is blue, if running well it’s green, when it starts running hot it’s yellow, and overheating is red. This internal engine check helps students

gauge their feelings and self-assess.

When I observe a whole class arrive to class in the red (like when they return from a field trip), I may need to adjust my plan and start with something that will cool down the engines. For some classes, I engage them with slow, meaningful movement. Others will need high-intensity rhythmic movement. It is my responsibility to know the overall class dynamic and what will meet their needs in the moment.

Early in the year, we discuss the power of breathing and how our lungs and heart are interconnected. We discuss how we can intentionally use breathing to calm our

bodies and lower our heart rates. This is also a great connection to tempo!

I tell my students about the power of our amygdala.2 I share how the amygdala, which is part of the limbic system of the brain, is designed to protect us, but it can also overreact. I help students understand that when everything in the brain is integrated as it should be, their frontal cortex, or the upstairs brain, is linked with the limbic portion, or the downstairs brain. Their bodies and minds can create, collaborate, and connect in harmony.3

However, when they face something challenging, their amygdala takes over, and their body chooses between fight, flight, freeze, or faint. In these moments, the brain is no longer functioning optimally. It is relying on that innermost part to make decisions. The problem is that the amygdala doesn’t discern the difference between a bear and a spelling test. Or, in music, between being excited for a first solo and being afraid. So, we must help.

I sometimes have students name their amygdala. Seemingly absurd, it is significantly easier to tell “Fred” to calm down

than to calm down yourself. When we give students knowledge, we give them the skills to self-regulate.

STUDENT SELF-REGULATION

Students might enter your room experiencing a difficult time. Below are some strategies they can choose from that can help them before they move into a fully dysregulated state. Giving students a choice in how to self-regulate enables autonomy and ownership of their behavior. Every child deserves a voice and a choice.

Box Breathing. This is a simple yet effective strategy that naturally connects with music. Early in the year, practice as a class with a slow, natural tempo. Inhale slowly for four beats, hold for four, exhale slowly for four, and hold for four. To help students visualize, draw a box with visual icons.

Squeeze and Release. When students are overwhelmed, they may not even be aware of the reason. It may be due to emotions, anxiety, fear, or any host of unmet needs. While some students need to release that tension gently, others may need to lean into the tension. Squeezing and releasing is like a moment of self-swaddling or using a weighted blanket. Students contract as many muscles as they can for a beat of two and then release. They can repeat this several times to release pent-up tension in their bodies.

Additional Intervention: If students do not find a way to positively manage their emotions when they reach yellow levels, I find they rarely move to green without some outside intervention. Below are two strategies that may help students reengage their upstairs brains and calm down their limbic systems.

Smelling Plush Flowers. When a student is agitated, it might not be effective just to ask them to take a deep breath. Instead, asking them to smell some flowers (even fake ones) may be just surprising enough to engage them. If the plush bouquet comes in various colors, students can choose their favorite color to smell.

Blowing Out Candles. Start with an indeterminate number of fingers that represent the candles. As the student begins to breathe, ask how many candles they will blow out at their next birthday and that’s the number they’ll “blow out.” Thinking about their answer, their prefrontal cortex is coming back online. While this is

not the time to ask multiple questions, this may be a moment to relocate the child to a space in your room that is more beneficial for you and them.

BUILDING CLASS CULTURE

The music room should be the most joyful place on the entire campus. In my room, we sing, move, and play every single day. There is a culture of mutual respect and care. We also laugh and have fun! Music educators are doing the noble and hard work of partnering with parents and other educators to grow well-rounded, whole individuals who are kind, compassionate, and capable of loving and leading others.

Gratitude. One of the primary ways we develop a culture of respect and care is through pausing for gratitude. This is a serious time in my class, and the students understand that. Students sit cross-legged with eyes closed. As we reflect on the past week, I strike a singing bowl, and they think about one thing they are thankful for. On the second strike, they think of one place, and on the third, they think about one person. Students can quietly share their thoughts, and then I encourage them to tell their person that day that they are thankful for them.

Failure and grace. In our world, where so much is recorded and uploaded, it feels as if failure is no longer an option. Yet, failure is an important part of learning. When students are working on a new skill, we must remind them that they will inevitably make mistakes and that this is a safe space to do that. Teach students that mocking the mistakes of another will not be tolerated. When they make mistakes, celebrate their effort and progress. Be vulnerable and honest enough to admit when you make a mistake, whether it be musically or relationally. If you need to apologize, do so quickly and model forgiveness when a student apologizes to you. When it all falls apart, and it will, then reset, review, refine, and repeat. It will be worth the extra effort.

Empathy and Kindness. As we select children’s music and literature to build our curricula, we also can choose music and literature with texts that foster conversations about empathy and model kindness. We have the opportunity in our classroom environments to establish spaces where every child feels seen, known, loved, and valued.

A well-rounded music education includes connecting music to the heart of the listener and learner. As that connection is made, there are so many emotions that one can help young learners understand as well. Learning to express emotions and then self-regulate them is a lifelong skill. Music can be a powerful tool to help calm the mind and body, invigorate the spirit, and inspire the heart. That begins on day one each year with purposeful connections that foster meaningful relationships. 0

Pauline Medlin teaches Lower School Music at Trinity Valley School in Fort Worth and is currently a PhD Candidate in Leadership Studies at Dallas Baptist University.

REFERENCES

1. Haidt, J. (2024). The Anxious Generation: How the great rewiring of childhood is causing an epidemic of mental illness. Penguin Press.

2. Young, K. (2025). Anxiety explainedHey Sigmund [Video]. Hey Sigmund. Retrieved June 30, 2025, from https:// www.heysigmund.com/video/ anxiety-explained/?video_cat=736

3. Siegel, D. (2024, June 4). Hand model of the brain - Dr. Dan Siegel Dr. Dan Siegel. Retrieved June 30, 2025, from https://drdansiegel.com/ hand-model-of-the-brain

Go

SOUND IDEAS

COLLEGE: SUPPORTING TRANSFER STUDENT SUCCESS

By Ash Glenn

Many college students work toward their degrees on more than one campus. While transferring to a new university can be a daunting experience, there are some effective ways for both the transfer student and the receiving faculty to smooth the transition.

TRANSFER STUDENT PRIORITIES

Transfer students can begin acclimating to a new campus well before the first semester begins. Take advantage of pre-semester activities, such as ensemble or studio camps. Experienced ensemble members can provide insights into campus life, while fellow students in your major can help you with the specifics of how things work in your new school or music department. This is a good time to start building connections.

Instrumental and vocal studios are deep wells of information and support. Your studio instructor will be the teacher you spend most of your time with, so engage with them early on and make the most of their guidance. Studio professors benefit from weekly meetings with you, and they can offer you some of the most candid and direct advice you’ll find. Your fellow studio members are also excellent points of contact who can share vital information about navigating the social and academic culture in the way only fellow students can.

To discover a community of kindred spirits outside your ensembles or division, getting involved with a music Greek organization such as Phi Mu Alpha Sinfonia, Sigma Alpha Iota, or Kappa Kappa Psi will help you feel even more welcome and connected within the music community. Learn more about the school or department’s professional organizations, such as the National Association for Music Education and the American Choral Directors Association. Getting involved in service with and for others is a great way to become part of the fabric of your new alma mater.

FACULTY GUIDANCE

Faculty members at transfer destination schools are key in helping ease a student’s transition. Transfer students in music share many of the same concerns, no matter their focus or their geographic location. Solid planning and advance action can mean the difference between a transfer student graduating on time or having to add a semester or two to their plan.

If your school or department of music has an undergraduate orien-

tation, ensure it is open to transfer students. If the date coincides with university transfer student events, hold a separate orientation so that these students can take part as well. While transfer students might technically be juniors or seniors, they lack the institutional knowledge that orientations help provide. This also opens the opportunity for faculty and students to meet despite transfer students having already completed the courses these faculty teach in their sequence.

Prioritize meeting with transfer students before they go to general advising. Transfer students often report that general university advising results in delayed graduation. The complexity of music degree requirements, especially when transfer credits are involved, requires specialized attention. If this advance meeting isn’t possible, schedule an advising meeting with the music transfer students on the first day of class, if possible. A schedule with course errors that makes it to the drop/add deadline can result in an extra semester or two on campus for the transfer student.

ESTABLISH A SUPPORT GROUP

An effective model utilized in multiple disciplines is a departmental transfer student support group. Studies show that one of the most effective ways to provide support to transfer students is by connecting them with other transfer students who are a year or two ahead in their studies. Paired with a comfortable setting in a student lounge or large classroom (and with coffee and doughnuts close at hand), a series of meetings with specific goals in mind can help lower transfer student anxiety for these new students and give experienced transfer students an opportunity to lead. These meetings may be frequent at first and then spread out over time as transfer students finish acclimating to their new alma mater.

The transfer process can be daunting for both the transferring student and receiving faculty. By highlighting opportunities for transferring students to catch up on institutional and social knowledge and supporting their proper course load, transfer students’ experiences will be much smoother, and their time at their new school will be more rewarding for everyone. 0

Dr. Ash Glenn is Director of Bands and Coordinator of Music Education at Austin College.

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Learn more by contacting Dr. Julie Derges, Music Education Area Head, at jderges@uh.edu.

COLLEGE DIVISION

CARTER BIGGERS, STATE VICE-PRESIDENT

When we accept students just the way they are, we create musical communities where every voice is valued and celebrated.

Won’t You Be My Neighbor?

Growing up, Mister Rogers’ Neighborhood was a staple in my upbringing. The many life lessons he taught me through song, guest stars, and “the Neighborhood of Make-Believe” stay with me to this day. His focus on kindness, empathy, and self-acceptance are qualities necessary in a child’s development, and they are certainly qualities we need today.

Recently, I have been drawn back to Mr. Rogers’ teachings and have been contemplating how his models can be applicable to us as music educators. Starting this month, I will share some thoughts on this subject in a series of my columns. This will be my attempt to bridge the gap between Mr. Rogers’ timeless wisdom about child development and the specific challenges facing music educators today, offering both philosophical grounding and practical tools for creating more compassionate, effective musical learning environments.

YOU

ARE SPECIAL JUST THE WAY YOU ARE

This quote is a paraphrase of perhaps one of the most oft-used lines in Mister Rogers’ Neighborhood. At the end of most episodes, Mr. Rogers would be preparing to leave his fictional house, and he would remark, “You’ve made this day a special day, by just your being you. There’s no person in the whole world like you, and I like you just the way you are.” What we as music educators can glean from this is simple—every student is valuable and unique exactly as they are, and we should

MARK YOUR CALENDAR check www.tmea .org for updates

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

September 30, 6 a.m. CT—TMEA convention housing reservation system opens online.

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.

strive to embrace every individual music voice in our classroom.

One constant for all educators is that we teach a diverse collection of students with their set of distinctive experiences and life circumstances that informs their individual musical voice. How can we celebrate this diversity and honor their different learning styles and natural abilities while ensuring that we don’t force everyone into the same mold?

AVOIDING COMPARISON

When my twin boys were growing up it was easy to compare them to each other and unwittingly put them in competition with each other. Who would walk first? Who would talk first? Which one would lose their first tooth first? The list was endless. What I had to do was simply understand that while these two children had a close bond genetically, they were still distinctly different from each other. I had to value and love each one for their uniqueness and simply for being just the way they were.

It’s easier to see the individuality in our students because, for the most part, they aren’t related to each other. However, we still regularly compare them with each other. Competitions, chair tests, and more are all useful tools, but they can lead some students to feel as if they are less valued because they didn’t make it or they aren’t first chair.

One simple solution is to eliminate chairs altogether. Every student makes a valuable contribution to our classrooms and ensembles and therefore should receive equal recognition. In our published programs, listing students alphabetically instead of in chair order is a visible sign that every student contributes equally to our success. Another thought is that you could rotate part assignments. This can be a genuine way of giving every student the opportunity to excel and learn. These are just a few ways that I have found success in valuing the individual.

MEETING STUDENTS WHERE THEY ARE

In any classroom, from elementary through college, our students come to us at different levels of learning and with varied learning styles. Rather than expecting each student to adhere to a uniform expectation of achievement (while not discount-

ing an expectation of high achievement), we should strive to encourage everyone to progress according to their current developmental stage. We need to meet them where they are and work on developing individuals as far as each can go.

Consider holding individual goal-setting conferences with your students so they can be a part of the process. In turn, you might learn a little more about what they want to get out of being in your classroom. While this is a common practice in the private studio, perhaps it is incumbent upon ensemble and classroom teachers to adapt the approach to their setting. Yes, it will take time, but the results are immeasurable.

BUILDING CONFIDENCE THROUGH ACCEPTANCE

There is perhaps no greater way of honoring the individual than by building their

confidence through acceptance. Technical proficiency, depth of musical understanding, and literacy are all important, but each student’s self-worth and value are paramount above all else. Needs before notes, as they say.

Creating a safe space for individual expression is a great tool to foster their confidence. With their permission, posting on the wall examples of student success (even as small as finally getting a tricky rhythm correct for the first time) can go a long way for that student struggling with their self-worth in the music classroom. Establishing a peer-mentoring program in your classroom can be another great way to bolster student confidence. If you can pair experienced students who have had similar experiences with younger students, you now have an opportunity for mutual benefit for both mentor and mentee.

TMEA Clinic/Convention

COLLEGE DIVISION

When we embrace the teaching of Mister Rogers by accepting students just the way they are, we create musical communities where every voice is valued and celebrated. By eliminating harmful comparisons, meeting students where they are, and building confidence through acceptance, we help our students become not only better musicians but also more confident human beings. The greatest gift we can offer isn’t perfect technique, it’s the knowledge that each student is special, valued, and worthy of our care exactly as they are.

CALL FOR RESEARCH PROPOSALS

The call for proposals for presentations at the TMEA Clinic/Convention Research Poster Session is open September 1–October 15. The Research Committee invites submissions from members in all divisions of TMEA, including our college students. The College Division Research Poster Session is a valuable opportunity to highlight current research and discuss applications to music teaching. For more information and to apply, go to www.tmea.org/papers.

COLLEGE DIVISION FALL CONFERENCE

All faculty members in the College Division are encouraged to attend this year’s College Division Fall Conference on

Friday, October 3, at the TMEA office in Austin. A full schedule will be emailed to the College Division membership, with a request to RSVP by September 29. If you have never been able to attend before, I highly recommend it. This meeting is an opportunity for us to engage with colleagues from across the state and receive updates regarding issues directly affecting our division. Much of the business of our division is conducted at this fall conference, so it is vital that we have your voice at the table.

SCHOLARSHIP APPLICATIONS

Now is the time for undergraduate and graduate students to apply for a TMEA scholarship. While the deadline is Friday, October 31, please encourage them to apply early and remind them that their TMEA membership must be current. As costs rise, student teachers often struggle to work full time in that capacity without pay. TMEA awards multiple student teacher scholarships to TMEA College Student members who will student-teach either in spring or fall 2026. These awards can go a long way to helping these students. For more information see www.tmea.org/scholarships.

STUDENT ESSAY CONTEST

As our semester gets underway, it’s time to encourage our undergraduate and gradu-

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ate students to consider working on an essay to submit to this contest. A wonderful way to support student involvement is to embed a written assignment in your course syllabus that would fit the parameters of the contest. The process of scholarly writing is of great value to our profession, and what better way to get our students more engaged in scholarship! For more information, please go to www.tmea.org/ essaycontest.

CLINIC/CONVENTION UPDATE

I’m pleased to welcome our College Division Featured Clinicians, Dr. Peter Boonshaft and Dr. Martina Vasil, to our convention February 11–14, 2026, in San Antonio. Each will offer four insightful clinics. With their extended opportunity to share their expertise, and with many more clinics presented by colleagues from Texas and beyond, this event will offer incredible pedagogy and inspiration. Register now at www.tmea.org/register and start making plans to attend. I’m already looking forward to seeing you there! 0

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