October/November 2020 Ala Breve

ala breve the official publication of the Alabama Music Educators Association October/November 2020 Features... 5 AMEA Governing Board Directory 8 2021 AMEA Conference Registration 9 2021 Conference Pre-Registration Form 13 Choral Music Reviews by William Powell 13 Pre-Conference Bonus Sessions 15 General Music Reviews by Deanna Bell 18 FAME Scholarship Essay by Laney Smith 23 Call for Research Posters 24 Industry/Institutional Members 25 Phi Beta Mu “Tips That Click” 28 Ready, Aim, Improvise! by Matt Leder 30 Conference Performing Groups 31 Featured Conference Speakers/Clinicians 32 All-State Jazz Band Clinicians 33 Conference Clinicians 41 Conference Schedule 48 Schedule of Events 50 Focus on Fundamentals by Conor Bell Departments... Advertisers... 6 .....................President Alabama cNAfME Summit ......................10 8 .....................Registrar Arts Music Shop, Inc ..................back cover 11 .....................cNAfME Dreamland Barbeque ................................55 12 .............................AVA Huntingdon College Bands.......................53 14 ..................Elem/Gen John M. Long School of Music (Troy).....36 16...........................Jazz UA Bands ...................................................2 17 ...........................ABA UAB Music...............................................22 20 ..........................HED UNA Department of Music ........................3 23 ..........Past Presidents University of South Alabama Bands ........35 26...........................AOA University of South Alabama Music ........54 William Carey University...........................7 Yamaha.....................................................21 8 October/November 2020

AMEA Governing Board 2020-2021 President-Elect Treasurer/Registrar Rob Lyda Pat Stegall President Cary Woods Elementary School AMEA Registration David Raney 715 Sanders Street PO Box 3385 Sparkman High School Auburn, AL 36830 Muscle Shoals, AL 35661 2616 Jeff Road 334-663-0898 [email protected] Harvest, AL 35749 [email protected] 256-837-0331 President, ABA [email protected] Recording Secretary Terry Ownby Carla Gallahan Florence High School Immediate Past President 113 Long Hall 1201 Bradshaw Drive Greg Gumina Troy University Florence, AL 35630 Shades Valley High School Troy, AL 36082 (256) 768-2200 6100 Old Leeds Road (334) 670-3502 [email protected] Irondale, AL 35210 [email protected] (205) 956-4638 President, ELEM/GEN [email protected] President, AVA Betty Wilson Randall Fields Deer Valley Elementary President, AOA Bob Jones High School 4990 Ross Bridge Parkway Daniel Stevens 650 Hughes Road Hoover, AL 35226 University of North Alabama Madison, AL 35758 (205) 296-3311 One Harrison Plaza (256) 772-2547 [email protected] Florence, AL 35631 [email protected] (256) 765-4708 President, HED Division [email protected] AMEA Collegiate Advisor Michael Zelenak Meghan Merciers Alabama State University President, AMEA Collegiate University of North Alabama 915 S. Jackson St. Jackson Vaughan UNA Box 5040 Tullibody Music Hall Room 208 [email protected] 142 Music Building Montgomery, AL 36104 Florence, AL 35632-0001 334-604-9187 Industry Representative 256.765.4518 Becky Lightfoot [email protected] Alabama Department of Education Arts Music Shop Arts Education Specialist 3030 East Blvd. Assistant Executive Director Andy Meadows Montgomery, AL 36116 Rusty Logan 50 North Ripley Street 334/271-2787 2020 Janabrooke Lane Montgomery, Alabama 36104 [email protected] Auburn, AL 36830 (334) 694-4768 (334) 663-1702 [email protected] Executive Director [email protected] Editor, Ala Breve Garry Taylor 1600 Manor Dr. NE Cullman, AL 35055 (256) 636-2754 [email protected] Garry Taylor, Editor & Advertising Manager ADVERTISING & COPY DEADLINES 1600 Manor Dr. NE Fall - August/September (Back to School) issue: July 15 Cullman, AL 35055 Winter - October/November (Conference) issue: September 15 (256) 636-2754 Spring - May/June (All-State) issue: January 15 [email protected] Summer - May/June (Digital Only) issue: April 15 Unless otherwise indicated, permission is granted to NAfME members to reprint articles for educational purposes. Opinions expressed in this publication are not necessarily those of AMEA or the Editor. All announcements & submissions are subject to editorial judgement/revision.The Alabama Music Educators Association is a state unit of NAfME: The National Association for Music Education, a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME/AMEA membership is open to all persons engaged in music teaching or other music education work. Ala Breve is published four times a year (August, October, February & May) by the Alabama Music Educators Association and printed by Hardwick and Son Printing in Dothan, Alabama. Subscription for members is $4.00 per year as part of annual NAfME/AMEA dues. Subscriptions for non-members is $15.00 per year. Bulk rate postage paid at Dothan, Alabama. ala breve 5

David Raney, AMEA President Coming Together and Moving Forward “If you can’t fly, then run, if you can’t run, Now that we are in the midst of the Our executive team, which includes then walk, if you can’t walk, then crawl, but rigor of in-person instruction, which Garry Taylor, Rusty Logan and Carl whatever you do, you have to keep moving now includes face masks, bell covers and Hancock, has assembled the technical forward.” - Martin Luther King, Jr. the constant sanitization of everything, foundation for the conference that will we find there is still much to learn and give attendees an exceptional online Over the past several months I have share. Additionally, we must continue to experience using Map Dynamics and witnessed music educators from across stay motivated while growing Zoom. Map Dynamics will provide an our state overcome unparalleled professionally just as we have in the past. interface with simple access to all obstacles to keep programs moving For me, attending music conferences is a sessions and performances. Since most forward. Although the students’ proven source of inspiration and the of us are already Zoom experts, we will experience may not have been as 2021 AMEA conference will be no use this method to broadcast the grandiose as usual, I’m confident to say exception. sessions and interact with the clinicians. the experiences provided to the students during these times are just as AMEA Virtual Conference 2021 All divisions have accepted outstanding meaningful. As we celebrate AMEA’s 75th sessions for this three-day event and pre- anniversary, we look back and see that conference bonus sessions will be A highlight of my year came this fall as I Alabama has enjoyed some of the most available in November. We will enjoy once again interacted with my students successful professional development outstanding performances from in person after such long anticipation. conferences in the country with programs across our state that will surely Soon after our first meeting, I found exceptional performances, clinicians and inspire us all. myself overwhelmed with joy as I heard fellowship with professionals across our the first note performed in person. state. Despite the current circumstances, An important part of our yearly Seeing the students’ face light up with our goal is to continue this tradition with conference is the time we spend with excitement after making music together a unique and meaningful experience this our colleagues as we share ideas and again was a sight I will never forget. January. enjoy each other’s company. We will provide a time for networking lounges in each division that will provide roundtable discussions. In addition, we will have a social hour to give you an opportunity to catch up with colleagues. Vendors are an important part of our conference and need our support as they have supported us over the years. We will provide everyone an opportunity to interact through virtual exhibits. These exhibit times will give opportunity to ask questions and see their latest offerings. “Finally, we will all fly again” A virtual conference will give us the ability to offer multiple keynote Editors Note: After reading President Raney’s article in this issue, speakers. Dr. Judy Bowers, the Emy-Lou I asked him to send a photo of him flying. I think it’s appropriate. Biedenharn Endowed Chair of Music Education at the University of 6 October/November 2020

Louisiana, Monroe, will present her I am extremely proud of the time our membership. They have implemented keynote session on Thursday night. In Governing Board has put into this year’s large financial changes that will keep the 2014, Dr. Bowers was named the Lowell conference. The event is full of quality association strong while providing an Mason National Music Education sessions, performances, and nationally abundance of advocacy and research Fellow and inducted into the society by recognized presenters. With a reduced campaigns. If you have not looked at the National Association for Music price and a convenient schedule, this their website lately please take a moment Education in Washington, DC. Her conference provides a quality experience and peruse through the enormous distinguished choral music career and we should all enjoy and I hope you will amount of resource material they are unique experiences will bring insightful take full advantage of this unique providing at http://nafme.org information to us as we look for new opportunity. ways to engage students. Moving Forward Southern Division Meeting Finally, I would like to challenge you to Friday night, Bob Morrison will present On September 13, I attended the keep moving forward with your music his keynote session that will explore how Southern Division Meeting virtually programs. If you are feeling music education moves beyond 2020 along with Rob Lyda, Greg Gumina, overwhelmed, start with taking one idea, and offer insights on how to plan for the Garry Taylor, and Rusty Logan. During one source of information, or one new future. Mr. Morrison is the founder of this meeting, we heard from the new idea from the conference and use it to Music for All, was the founding CEO of NAfME President, Mackie Spradley, the keep moving in a positive direction. You the VH1 Save The Music Foundation, Interim Executive Director, Chris will find a crawl will turn into a walk, and his advocacy work has earned him Woodside, and Chief Financial Officer, then a walk into a run, and finally, we both an EMMY and a Peabody Award. Chaudlier Moore. Each is new to their will all fly again. He is the founder and CEO of position and took time to answer Quadrant Research, the nation’s leading questions and address asks from the I’m looking forward to coming together arts education research organization, and states. this January and moving forward to a his accomplishments and accolades go brighter future. Let’s fly together. far beyond the space this article NAfME is our national voice and the provides. His insightful message will give new leadership is making changes to - David Raney meaningful information you will not bring you the most value for your want to miss. ala breve 7

Pat Stegall - AMEA Registrar From the Registrar Join/Renew/Register! your membership, think of those music NAfME is required for participation in teachers in your area that may not be state MEA sponsored events like the Check out the AMEA website and active members, and send them a AMEA Conference, the Elementary register for the 2021 AMEA message inviting them to join! You Division Fall Conference, All-state and conference online at could send an email with their contact Musical Performance Assessments. www.myamea.org. You will find it is information to me at Joining NAfME secures your easy and will save you time and [email protected] and I will membership in AMEA and in your money. Reunite with friends and invite them! division. Renewing your membership colleagues from all over the state in annually will help you in achieving the January through our virtual conference Remember to remind your colleagues continuing service award at our platform. Rejuvenate your energy and to join, include the new music conference on year 25 and beyond. renew your enthusiasm for the rest of teachers, invite the inactive music the school year! I can’t wait to be part teachers and be involved as a mentor to I look forward to receiving your of this exciting new way of holding our the young music teachers. completed registrations. They should conference! be postmarked by January 8, 2021 and Renew your membership now at received by January 14, 2021. “See” When you are joining or renewing www.nafme.org . Membership in you at the conference! PS 8 October/November 2020

PRE-REGISTRATION FORM LAST NAME _____________________________ AMEA Professional Development Conference FIRST NAME_____________________________ Virtual Conference NAfME ID#_______________________________ January 21-23, 2021 Please enclose a copy of your card. Home Address: (City) (State) (Zip) Email: Primary Phone: School Name: Principal Division:(check only one) ABA AVA ELEM AOA HED COLLEGIATE Other Division/s Affiliation:(check all that apply) ABA AVA ELEM AOA HED COLLEGIATE Retired Please tell us if you are: Clinician Conductor of a performing group at the conference Current Member, Collegiate Member Clinician, Conductor (college student) Pre-Registration $50.00 Pre-Registration $20.00 (Late Registration $65.00) (Late Registration $35.00) Retired Member Non-Member Alabama Music Teacher Registration Complimentary Pre-Registration $100.00 (Late Registration $115.00) TOTAL AMOUNT PAID $ MAKE CHECKS PAYABLE TO AMEA A fee of $35 will be charged for returned checks No Purchase Orders Accepted. Check or Credit Card Only To pre-register with a credit card go to www.myamea.org through January 15, 2021 Late registration will be accepted online only with an additional fee until January 19, 2021. Mailed forms must be postmarked by Jan. 8 and received by January 14, 2021. Mail form and check to: AMEA Registration, PO Box 3385, Muscle Shoals, AL 35661 Do not send forms or payment to the above address after Jan. 8, 2021 (Postmark Date)! THANK YOU! Your receipt and certificate of attendance will be emailed to you. ***************************************************************************************************************************************** Please do not fill in the information below. This is for AMEA bookkeeping ONLY Personal Check # School Check # Membership verified and payment receipted by: Date: ala breve 9

10 October/November 2020

Jackson Vaughan - President, cNAfME Alabama Virtual Fall Summit You’re Invited! ALcNAfME is hosting its annual summit virtually on October 25th from 1:30-4:30! In this article, you will find (hopefully) all the answers to questions that could possibly accompany a virtual summit. Your collegiate executive board has been working hard to solidify all of the details for this event, and we cannot wait to share this experience with you all! Who? What? When? Where? Why? Who: We are excited to host four excellent speakers from the state of Alabama as well as a group of new teachers who graduated from Alabama universities in the last year! Keynote - Mr. Andy Meadows, Alabama Arts Education Specialist Instrumental - Dr. Pat Stegall, The University of North Alabama Vocal/Choral - Mr. Randall Fields, Bob Jones High School Elementary/General - Dr. Rob Lyda, Cary Woods Elementary School What: Virtual Summit will be a time of professional development. This year we have chosen the theme \"Innovate\". Through sessions and discussion, we will engage with how music educators are having to innovate in the classroom during the COVID-19 pandemic. When: October 25th from 1:30pm-4:30pm Where: https://samford-edu.zoom.us/j/92531437969?pwd=OWlKck1HU1NaSGNNQzMyVzNFaVBVUT0 9 Why: I think we can all admit we're a bit \"Zoomed out\", but we believe that it is important to continue learning and growing as future music educators during this global pandemic. This will be an exciting time to hear the perspectives of new and veteran educators, and I hope you are excited to put yourselves in their shoes and get a glimpse of what the classroom really looks like! How: Watch parties! Each university is handling the pandemic a bit differently; therefore, we want to leave how each individual chapter engages with the virtual summit up to you. If you want to tune in individually from the comfort of your home, that's great! If you want to gather as a cNAfME chapter and watch as a group, that's also great! Keep in mind, if you gather as a chapter please ensure you have a minimum of three computers to make sure your chapter has access to all three of the breakout sessions. We're So Excited! We cannot wait to share this virtual experience with you! Please remember these final guidelines as you prepare to attend Virtual Summit: ● Upon entry, please change your name to include your school and the breakout session you wish to attend (i.e. Jackson Vaughan, Samford, Elementary/General). ● Please mute yourself at all times, unless you are engaging with our presenters. ● Please dress professionally (business casual). ● Please ask questions! Summit is no fun if no one engages! Please feel free to reach out if you have any questions by emailing (please do not reply to this email)! We look forward to seeing you virtually soon! ala breve 11

Randall Fields - President, Alabama Vocal Association AVA Updates has been some confusion about All- State repertoire. Check your email on October 3 for a preliminary announcement as to how we plan to proceed with auditions based on the numbers of students who registered to audition. September 28, 2020 The 2021 AMEA Conference will be This conference January 21-23. The conference will be promises to Colleagues: virtual, and to minimize time away from be an event students, will be Thursday and Friday It was good to see many of you at our evenings and all day Saturday. This you will not want virtual Fall Workshop in September. conference promises to be an event you to miss. Thank you to Meg Jones, Hilen Wilson, will not want to miss. We will have live- Cameron Weiler, Chris Brown, and all streamed or recorded concerts of October/November 2020 who presented sessions. A special thanks exemplary ensembles from our state as to Jim Schaeffer, our interim webmaster well as the live-streamed performance of for facilitating the online format for the our All-State Show Choir. Because this workshop. At the general membership conference will be virtual, we have the meeting, we voted on the wording in the unique opportunity to offer timely AVA Handbook, which we feel clarifies sessions by presenters from not only our the fact that directors are the experts state but from around the nation as well. who should decide the best voice parts I look forward to seeing you virtually at for their students regardless of the the conference. students’ genders; there were no policy changes. Please visit the website to read All other spring semester activities the adopted Handbook revisions as well are on track to happen as normal. as the minutes of the meeting. However, your board is evaluating each Recordings of the sessions will be event, listening to your concerns and available on the website through recommendations, and considering the October 11. We expect the newly revised safety of our students. We will announce AVA Handbook to be available online plans for all spring activities by mid- soon. January. As always, please feel free to reach out to your district chair or me All-State Auditions are November 2- whenever you have a concern or idea 10. We will invite each registered student that will benefit our students. to join a Google Classroom through which we can communicate instructions Warm Regards, with the student and accept recordings of their auditions. We will also send Randall Fields information to teachers through email. AVA President Please refer to the website for the official All-State repertoire lists, as there 12

Choral Music Reviews by William Powell Ave generosa (Available for SATB, SSAA, and TTBB) Three Madrigals (available for SATB and Two-part, with By Ola Gjeilo (b. 1978) piano accompaniment) Text by Hildegard von Bingen (1098-1179) By Emma Lou Diemer (b. 1927) Walton Music Texts from William Shakespeare’s (1564-1616) “Twelfth Duration: Approximately 4:30 Night,” “Measure for Measure,” and “Much Ado About Noth- ing” Latin text Boosey & Hawkes, Inc. Ave, generosa, OCTB-5417 gloriosa et intacta puella, Duration: Approximately 4:15 tu pupilla castitatis, tu materia sanctitatis, I. “O Mistress mine, where are you roaming?” que Deo placuit. II. “Take, O take those lips away” III. “Sigh no more, ladies, sigh no more!” English translation (as shown in the score): Hail, girl of a noble house, This tried and true composition by Diemer remains a popular Shimmering and unpopulated, choice for festivals throughout the country as evidenced by the You pupil in the eye of chastity, number of times it appears on repertoire lists. While each sep- You essence of sanctity, arate madrigal can stand alone, the combined duration of the Which was pleasing to God. three songs is less than five minutes which suggests that the songs might function better as a set. Newer choral teachers Composed in 2017 for SSAA voices, this Latin text pays who are not familiar with these madrigals will find that the “homage to the mysterious story of Mary.” Gjeilo’s skillful vocal ranges are well-suited for all age voicing creates a flowing, chant-like quality throughout the groups that sing SATB, especially for composition. The opening section is hauntingly voiced in a developing voices. As well, each voice minor key. The last section combines the original theme with part is truly enjoyable to sing. secondary material set in a major tonality. The rhythms and notes are very readable, but the difficulty seems to lie within William Powell the tuning, balancing, and possibly conveying the true spirit of Director of Choral Activities the song with appropriate attention to syllabic stress, phrasing, and dynamics. Auburn University AMEA Pre-Conference Bonus Sessions 13 Schedule Coming Soon Julia DeSerio - Creating Meaningful Lessons: Let Students Guide Your Instruction Elizabeth Fisher - Expressive Conducting: Using Laban Movement to Inform Gesture Christopher Johns - Strategies for Teaching Wind Band Intonation Christopher Loftin - The Personality Puzzle Mark Malone - Understanding the 2014 National Standards for Music Education Jason Sulliman - 1100 Days and Counting: What I have Learned from Three Years of Constant Practice Meghan Merciers, Jason Sulliman, & Gretchen Windt - Smooth Operetta: Building Technique in Aspiring Vocal and Instrumental Musicians Through the Light Opera Canon Lindsey Underwood - Your Job is Just a Job: A Music Educator’s Guide to Wellness Sarah Wee - Celebrating the Art Songs of Camille Saint-Sans Joshua Wine - Bach to the Future: Connecting with Secondary Performers through Historical Musicology ala breve

Betty Wilson -  President, Elementary/General Division Life’s Full of Tough Choices To say that the start of the school year was held online from 9:00-12:00 on October share virtually in January. We will also have unusual would be an understatement. Many 17th, 2020. I would like to thank AOSA and sessions by Dr. Julie Bannerman (University of you are facing and conquering challenges SHAKE President, Deanna Bell for of Montevallo), Toni Garza (Quaver), and you’ve never dreamed of. You might be partnering with us to provide this workshop various other Alabama music educators. teaching online, in a general education for free. Members need to preregister to Additionally, you may sign up to share a classroom, or in a hybrid model where receive a link to the Zoom meeting. Make lesson at the lightning round on Thursday sometimes synchronous and asynchronous sure you include the email you would like to night, or plan to share a book at the learning occurs at the same time. Again, I use to receive your link to the workshop. Elementary Happy Hour Session (BYOB, am reminded of the seven habits book, I Register at Bring Your Own Book) on Saturday. Be referenced last October, The Seven Habits of https://tinyurl.com/2020AMEAFallWorksh sure to renew your NAfME membership as Highly Effective People, by Stephen Covey. op Jeremy will present a session on soon as possible to register for these events Habits 2 and 3 begin with the end in mind Elementary Improvisation. During the and to take advantage of all that NAfME and put first things first. What do we want session participants will “extract the core and AMEA have to offer this year. our students to know at the end of the year tenants of improvisation (framework + and how can we accomplish that in a choice + time); explore aural, kinesthetic, Thank you again, for your hard work, COVID-19 teaching and learning and visual preparation methods for dedication, and continued support of the environment? While we know that some of improvising with movements, vocal Elementary/General Division of the AMEA our traditional teaching methods have been explorations, words, instruments, rhythms, and the children of Alabama. suspended temporarily, there are many ways and melodies; and foster Kodály’s vision for to accomplish our goals. It’s a good thing complete musicianship.” The workshop will See you in October, that most music teachers are creative be followed by our fall board meetings. This Betty R Wilson, President because we are all having to think outside year, the Elementary Division will be Elementary/General Division the box. (I don’t know who wanted to be in nominating officers for the following the box in the first place, but that’s a positions: President-Elect, and Secretary. A Upcoming Dates: different article.) To attain these learning nominating committee has been working on targets, we must put first things first. This is securing nominations for these vacancies, Fall Workshop - AMEA/AOSA/SHAKE where the tough choices come in. There’s no but we will also take nominations from the Saturday, October 17, from 9-12 way to do it all, every day! Some days that floor. To nominate a person for a position, Online Format may mean making a lesson plan, or a video you must first have their permission and of yourself singing a song for your kids or a they must agree to serve if elected. NAfME National Conference video of you reading them a book to post in November 4-8, 2020 your Google classroom. Other days, putting Finally, on January 21-23, 2021, we will host In-person conference is cancelled.  first things first may mean attending to your our virtual AMEA Professional Visit Nafme.org for upcoming virtual family’s needs, making sure that the grass is Development Conference. Conference sessions cut, the laundry washed, the homework planning is well underway. Since we know it checked. Or maybe it’s putting yourself first, might be difficult to find a sub and take time AMEA Professional Development taking time to meditate, pray, exercise, or get off, the Executive Board has made several Conference your nails done. When you feel refreshed, adjustments to the schedule that will allow January 21-23, 2021  you will be better equipped to handle the you to stay at work during the day and enjoy Online Format daily stresses that accompany this pandemic sessions in the evening. Please check out the and the months ahead. Begin with the end in excellent sessions we are planning for you. Alabama AOSA Spring Workshops (Details mind and put first things first today. David Row will be our main clinician. You TBA) may know David from his amazing March 6, 2021:  Manju Durairaj, Clinician As many of you already know, our AMEA Facebook Live broadcasts, Teachers Pay March 5, 2022:  Jennifer Donovan, Clinician Choral Festival was cancelled, however, the Teachers page (TPT), and Make Moments fall workshop was not. The fall workshop, Matter webpage. David is an excellent Sweet Home Alabama Kodály Educators featuring clinician Jeremy Howard, will be educator and we are thrilled to have him Workshops (Details TBA) April 2021:  Lea Hoppe, Clinician April 2022:  Rachel Gibson Clinician 14 October/November 2020

General Music Reviews “A Spooky Review” By Deanna Bell, Music Teacher at Vestavia Hills Elementary East, Adjunct Professor at the University of Alabama at Birmingham. Hello, I love to read books and add instruments and songs to the stories. It is one of my favorite ways to connect children’s books to music. Below are some of my October favorites! You can find lesson plans to go with these stories either online or in a music group. The best way to connect with students is to allow them to choose instruments to play for the different sounds and parts. It is so much fun! Below is a photo of my dog as a mystery guest reader from last year. We had a blast! I hope you enjoy these spooky books! Love, Deanna Kindergarten: The Very Busy Spider, by Eric Carle 1st Grade: Room on the Broom, by Julia Donaldson 2nd Grade: The Hallo-Wiener, by Dav Pilkey 3rd Grade: The Little Old Lady Who Was Not Afraid of Anything, by Linda Williams 4th Grade: Shake dem Halloween Bones, by W. Nilola-Lisa 5th Grade The Composer is Dead, by Lemony Snicket ala breve 15

Craig Cagle, ABA Jazz Chair All-State Jazz Band Colleagues, meet deadlines for registration and if the students who are accepted to the payment, which is November 2, and All State Jazz Bands are in person at the Whether you are in person with your recording submission, which is festival, every precaution will be taken to students, teaching them remotely using November 16. ensure that their health is a top priority. online meetings, or working with them completely virtually, I’m sure we can This year, All State Jazz Band will be Be sure to check the AMEA website for agree that it is great to be making music held on January 22-23, the same more information as the schedule, in some way. As we forge ahead this weekend as the virtual AMEA location, and logistics for the event are school year, giving students the most Conference. We are excited to offer finalized. Encourage your students to rewarding experience we can is at the students the opportunity to work with a audition. Let them know that the All top of our list of goals. The good news terrific panel of clinicians, including Dr. State Jazz Band Festival is going to be a that I would like to share with you is that Matt Leder, from Gadsden State great experience this year! And, let us the All State Jazz Band will continue this Community College, Dr. Tracey know how we can help you and your year as close to normal as it can. Heavner, from The University of South students throughout the audition Alabama, Dr. David Phy, from process. Our online audition process remains Birmingham Southern College, and Alan unchanged. You can access all Baylock, from The University of North Craig Cagle, Chair documents pertaining to auditions on Texas. We are currently working out the [email protected] the AMEA website. Scale sheets and details of an in-person festival, with the etudes are available for download there, option to hold All State Jazz Band Ben Posey, Vice Chair and Aebersold play-along instructions virtually, if necessary. Rest assured that [email protected] are detailed there as well. Be sure to All-State Jazz Band Clinicians Alan Baylock David Phy Tracey Heavner Matt Leder Read bios of the all-state jazz band clinicians on page 30 16 October/November 2020

Terry Ownby- President, Alabama Bandmasters Association Passion, Pride and Purpose School, as defined by Webster is “an students. Music teachers have always look like if we have a situation like last organization that provides instruction: such as seemed to be able to adapt to an ever- Spring where schools are shut down, or an institution for the teaching of children”. changing landscape and for that, you are schools possibly can’t travel. Both of Well, Webster definitely didn’t quite have to be commended. I think Walt Disney these committees will present a final a definition that would fit everything summed it up best, “The way to get draft of their work to the ABA board that has come our way the past three started is to quit talking and begin for the board to consider. Our goal is to months, but as always, music educators doing!” YOU formulated a plan of do everything in our power as a board in the state of Alabama met it head-on action and put it in motion. That’s what for all of our events to happen in the and climbed every hill and mountain you’ve done for your students daily and second semester. This will just give us that was thrown at them on a weekly, I for one want to say Thank You for all options on how these may occur during daily and sometimes hourly basis. We the things that you do that go above and the pandemic. have pulled together resources literally beyond to make sure that your students out of thin air at times and found ways get the best experience possible. At the Virtual AMEA conference, we to adapt what we do to educate our will have two membership meetings. In As we have all said before, this year is the first, we will consider the legislation We have pulled going to be different, BUT don’t let that was on the docket from the All- different mean that you don’t give the State meeting in April. You will find together resources best to your students and that you don’t these online and we will email these back take the time to recharge yourself out to the membership. Also, the literally out of professionally. The AMEA conference nominating committee is working to will have a different look, but there are bring a slate of officers to you. thin air at times some great clinics and performances According to the legislation we passed at planned for ABA that you won’t want to AMEA last year, they will bring 2 and found ways to miss. The committee that selected clinics candidates for each of the following tried to make sure that we picked clinics offices: Vice President/President-Elect, adapt what we do that will inspire you and will give you Recording Secretary, and Jazz Vice what you need to help you right now. We Chairman. We will also take nominations to educate our had some outstanding clinics to choose from the floor. If you have someone from and because of the virtual format, you would like to nominate for any of students. we have 5 clinic spaces for this year’s these positions, contact any of the conference. Make sure you take the time committee members - Chairman, Taylor to renew your NAFME membership Cash - Albertville High School, David now and then register for the Waters – Muscle Shoals High School, conference!! Michelle Gann – Gordo High School, LT Hughes – Robertsdale High School. The ABA membership approved the recent legislation allowing the ABA Stay strong!! This is your association. Let board, if needed, to move District Level us all strive to make it better so that we All-State tryouts, Music Performance can serve the students and the bands in Assessment and Solo and Ensemble to our state better. We are ABA and virtual formats. We have two committees together we CAN do great things!! working right now on the Virtual All- State audition format and a committee Terry working on what a Virtual MPA might ala breve 17

FAME by Laney Smith (Future Alabama Music Educators) Scholarship Essay Editor’s Note: AMEA recently awarded the FAME scholarship to Laney Smith, a 2020 graduate of White Plains High School. Scholarship recipients must have attended the FAME program and plan to major in music education at an Alabama university. Laney plans to major in music education at Auburn University. Why I Want To Be a Music Educator I wholeheartedly believe that music has the getting to share what I love with other people Whether it’s through a music educators power to change the very fabric of the world and witness their journey and growth conference, District or All-State Band, or your around us. From simple to complex melodies, surrounding that passion. For example, seeing high school’s band practice, music creates lush harmonies, intentional dissonance, and a rookie evolve over the course of several community. Pursuing the greatness of music countless other musical devices, the touch of years (growing in personal and musical creates teamwork and forms bonds that last a music has the ability to extend further than maturity) into a well-developed adolescent is lifetime (personally, all of my best friends are words alone can. Music is a universal language beyond fulfilling. Seeing their love for music within my band program, and I have full that can unite people ranging from a high grow because of my influence reminds me intent to maintain those friendships for the school band program to a group of exactly why music will be my livelihood—that rest of my life). When I look back on my life, international students. Whether it is in feeling is something that never grows old, and my favorite memories are those when I’m in mourning or happiness, music brings people I will surely never tire of it. band. Music creates grit, and it separates the together in a way that nothing else on this boys from men, so to say. Music is hard, hard planet can. Music has changed my life, and for Just like science or math class, access to music work and has instilled within me a fiery spirit that very reason, I wish to extend its magic to classes should be available to all students, that I hope never dies out. I wish to be a generations to come by pursuing a career in regardless of the location of their school and music educator because of the enriched music education.  their age. The benefits of music education are community of music that brings people absolutely astounding, and I credit my success together, the personal fulfillment that comes I have had the privilege of being a member of in other school subjects to the intensive “brain with enlightening and changing the lives of my school’s band for the past seven years training” that being in band allowed me to students, and lastly, because of the (which have absolutely flown by), and experience. It has been statistically proven that tremendous life impact that the music throughout the woes and tribulations of students taking music lessons score higher in educators I have encountered have made on middle school and high school, no matter all academic subjects—this can most definitely me—because of their persistent work and what seemed to be occurring in my life, I have be attributed to the brain stimulation dedication, my life has been forever changed noticed one profound constant: my band experienced when deciphering complex and impacted for the good.  director has been a source of joy, keen insight, rhythms, recognizing pitches, or performing a and the provider of an environment and challenging piece, to name a few examples. Starting this fall, I plan to attend Auburn activity that I truly believe is my home. The Music education undoubtedly creates University in pursuit of a degree in music two women who have served as my band teamwork. Whether it’s in a band or choir education with a minor in accounting. I also directors throughout my adolescence have not class, each student is part of a whole—they plan to be a member of the Auburn only thoroughly prepared me for a musical can’t perform an ensemble piece on their own, University Marching Band as well as future in the collegiate world, but also instilled and it is crucial that they rely on their fellow participate in concert/symphonic ensembles. within me a great sense of pride towards my classmates to create the final product. Groups Regardless of where my career might take me, school, my peers, and have perfectly displayed of students working together towards a my passion is in the music world, and I have the professionalism and sheer dedication that common goal brings them together and has full intent to persistently pursue that goal. contributes to being a music educator. Their the ability to create lifelong friendships and Following college graduation, I plan to influence has undoubtedly contributed to my bonds. Music also creates discipline. Attending embrace the music educator role. Whether desire to pursue a career in music education. band camp, committing to daily practice, or that is being a high school director, college taking extra lessons outside of school director, or any other profession falling under Throughout high school, I have received responsibilities holds a student accountable the music educator umbrella, I possess a great firsthand experience of the sheer fulfillment and teaches them the importance of hard passion to be in a position to teach and of being in an educator’s position (serving as work and perseverance (especially running a enlighten students in the area of music. a section leader, band vice president, and basics block during an Alabama summer!). Further into the future, following a music eventually band president for two years). The presence of music education in the 21st educator role, I have aspirations to work in the Getting the opportunity to interact with and century classroom is absolutely essential.  field of music technology or music grow close to younger students enlightened administration. me on why I want to be a music educator— Music never fails to bring people together. 18 October/November 2020

FAME F A M Euture labama usic ducators Open to High School Juniors and Seniors Saturday, January 23, 2021 9:00 A.M. - 4:00 P.M. Virtual Sessions Application and $20 registration fee are due postmarked no later than January 15, 2021 Student_____________________________________________________________ Grade ____________________ Nominating Teacher ____________________________________________ NAfME # _________________________ School Name ____________________________________________________________________________________ School Address __________________________________________________________________________________ Teacher Phone ________________________________ Teacher Email ______________________________________ This student participates in (circle all that apply): Band Chorus Orchestra Other ____________________ Publicity Waiver Enclose $20 Registration Fee I give AMEA permission to take photos of FAME attendees and use the Make checks payable to AMEA photos for publicity purposes. By this authorization, I understand and agree that no participant shall receive remuneration and that all rights, title and interest to the photos and use of them belongs to AMEA. _________________________________________ ________________________________________________ Signature of Student Signature of Parent if Student is under 18 The FAME program includes many important topics for students considering a career as a music educator. AMEA provides a $1000 scholarship opportunity to a FAME participant who plans to major in music education at an Alabama college or university. Visit www.myamea.org for details. Lunch will be provided by AMEA Mail this application, along with the $20 registration fee, to: AMEA 1600 Manor Drive NE Cullman, AL 35055 Postmark Deadline: January 15, 2021 ala breve 19

Michael Zelenak - President, Higher Education Division Best Practices in Challenging Times Back in August, my institution insights into the future of music education. as hand position. The instructors held its annual Faculty Institute as a virtual Results indicated that most themselves acknowledged development in conference. I had reservations at first, but their ability to deliver more concise and later found it to be outstanding! The instructors utilized a combination of virtual effective verbal instruction while the upcoming 2021 AMEA Conference will and in-person instruction (63.16%) while students improved their skills in turning also be held in a virtual format. Based on some taught completely online (26.32%) verbal instruction into physical execution. my prior experience, I am confident in and others taught completely in-person Finally, the pandemic forced instructors saying that the 2021 AMEA Conference (26.32%). A majority of instructors used and students to learn more about may be the best conference that you have Zoom (68.42%) to interact with their technology. Both found new ways to ever attended! students, a few employed Google Meet utilize technology and increased their (7.89%), and no instructor used Microsoft fluency in a variety of applications. For We’ve included all of the Teams. Individual instructors reported example, instructors learned to record their elements that you’ve come to expect at a using programs such as Rock Out Loud; instruction, create pedagogical videos, and “first-rate” music conference. There will be Facetime; Facebook and Zoom; and store PowerPoint presentations for future two General Sessions with awards and Cleanfeed. As expected, many instructors use. They also learned that guest artists can keynote speakers. Our exhibitors will be incorporated hardware devices such as be included in their lessons easily. there and you will be able to interact with microphones, mixers, digital to analog them via Networking Lounges. There will converters, and various recording devices Responses to the second open- be a Research Poster Session and an HED into their instruction. The collection of ended question (What information would Recital. In addition, there will be a virtual brand names and models, however, was you like to share with others about your happy hour that we are calling “Cocktails beyond the scope of this investigation. In experience?) provided further insight. The with Colleagues.” But just when it couldn’t addition, instructors utilized web-based instructors came to accept the benefits of get any better, we are hosting six programs such as YouTube (51.35%), online instruction and acknowledged that a presentations that will enlighten and SmartMusic (13.51%), FlipGrid (5.41%), combination of virtual and in-person inspire you. These sessions will focus on and others like GoReact, OBS, DaVinci instruction worked better that only online best practices in a variety of music Resolve, Cleanfeed, Logic - Final Cut Pro, or only in-person lessons. Several took the education areas. But wait, there is more! and Loopback to support their instruction. time to remind us about the importance of For the price of admission, you will also remaining positive and flexible in these have access to three pre-recorded bonus Some of the more interesting challenging times. sessions. Kudo’s to the AMEA governing findings may have come from the board. They have certainly covered all of instructors’ responses to two open-ended Keep in mind, the results of this the bases! questions: “Have any unforeseen benefits survey are limited to its participants and do come from your virtual instruction? and not generalize to a larger population. All There is still time to get involved. “What information would you like to share opinions are my own. These findings, Research poster applications are being with others about your experience? however, provide insight into the changes accepted until Nov. 2. Go to the Responses to the first question organized that are taking place within institutions of myamea.org website and click on Dr. Jane themselves into four emergent themes (a) higher education across Alabama. Further Kuene’s box with the title Research Poster Instructional Environment, (b) Self- investigation is warranted. Update for details. Applications for the Evaluation, (c) Attention to Detail, and (d) HED Recital will be accepted until Nov. Learning about Technology. Instructors I would like to extend my sincere 15. Contact Dr. Carly Johnson at felt comfortable working from home, thanks to Eric Perry, a doctoral graduate [email protected] for more noticed that introverted students talked assistant at the University of Alabama, for information. more in the online format, used lesson time his help in constructing and administering more effectively, and dealt with fewer the survey. He handled the technological HED Studio Instructor Survey student absences. They also recognized the “nuts and bolts” turning my ideas into benefits of having students evaluate their reality. This survey would not have been In mid-September, we sent out an own recorded performances. Students put possible without his efforts. Additional informal survey to 191 studio instructors more effort into their lesson preparation words of appreciate go out to Dr. Carl across Alabama to investigate the impact resulting in greater progress. In addition, Hancock for introducing me to Mr. Perry. of the COVID pandemic on college-level instructors witnessed an increase in their Thank you, Carl! music instruction. We received responses students’ attention to detail. Vocalists paid from 38 instructors. Some responses were more attention to diction while I look forward to seeing everyone anticipated but others provided interesting instrumentalists focused on nuances such at the conference. 20 October/November 2020

NEVEEEND TTEEAACCHHEERRSS The Yamaha Educator Suite (YES) gives you access to a wealth of professional development opportunities and resources. YES brings you into a network of like-minded colleagues, experts and professionals who want to share their real-world experiences. You’ll also receive valuable tips on advocacy assistance, program health support and much more. Let us help you raise the bar. Go to Yamaha.io/educatorsAAB

DEPARTMENT OF MUSIC MUSIC THAT WILL CHANGE YOUR WORLD

CALL FOR RESEARCH POSTER PARTICIPATION 1 The Alabama Music Educators Association, Higher on Monday, November 2, 2020 for full Education Division invites research poster consideration. submissions from all levels of music scholars and 7 All submissions will be peer reviewed and authors practitioners. will be notified of acceptance by email during the week of Monday, December 1, 2020. 2 Submissions may include completed and in­ 8 If accepted, authors must register and attend the progress research studies involving any aspect of AMEA conference to present the poster. In the music (education, therapy, history, psychology, case of multiple­author works, at least one author performance, music in higher education, must register and attend the AMEA Conference to alternative music, etc.). Research based on issues present the poster. facing music educators, musicians, and music 9 UPDATED: The poster session will be held as a students in the Southeastern United States are synchronous online lightening round session. especially welcome, though this is not a Accepted researchers will present a 5­7 minute requirement. quick presentation about their research. PowerPoint slides should be sent to the Research 3 All submissions should meet the Code of Chair no later than 1 week prior to the Ethics found in the Journal of Research in Music conference. A virtual research poster website may Education. be created to share ePosters. 10 Time and Day for the session is scheduled for 4 Research presented at other conferences will be Saturday, January 23, 2021 at 12 p.m. (central considered. However, previously published work time). will not be accepted. 11 More Information, contact Dr. Jane Kuehne at Auburn University by email at 5 Interested researchers should submit a detailed [email protected]. abstract of the research project (up to 1000 words) as a Word or PDF document through our online submission website. 6 Submissions must be received by 11:59 p.m. CST AMEA Presidents - Past to Present 1946 Yale H. Ellis 1972 Frances P. Moss 1996 Johnnie Vinson 1948 Walter A. Mason 1974 George Hammett 1998 Michael Meeks 1950 Vernon Skoog 1975 Frances P. Moss 2000 John McAphee, Jr. 1952 John J. Hoover 1976 S. J. Allen 2002 Tony Pike 1954 Lamar Triplett 1978 W. Frank McArthur 2004 Becky Rodgers 1956 Carleton K. Butler 1980 Paul Hall 2006 John Baker 1958 Mort Glosser 1982 Lacey Powell, Jr. 2008 Pat Stegall 1960 Wilbur Hinton 1984 Johnny Jacobs 2010 Steve McLendon 1962 Lacey Powell, Jr. 1986 Merilyn Jones 2012 Sara Womack 1964 G. Truman Welch 1988 Ronald D. Hooten 2014 Carl Hancock 1966 Jerry Countryman 1990 Ken Williams 2016 Susan Smith 1968 Floyd C. McClure 1992 Dianne Johnson 2018 Greg Gumina 1970 Jerry Bobo 1994 James K. Simpson 2020 David Raney ala breve 23

AMEA Industry/Institutional Membership 2020-21 AMEA would like to express appreciation to the following partners who have joined AMEA in our efforts to promote music education in Alabama. Please support these industry/institutional members who support you as music educators! Arts Music Shop 3030 East Blvd., Montgomery, AL 36116 JW Pepper 9053 Riverside Pkwy, Lithia Springs, GA 30122 Kaleidoscope Adventures 603 South Main Street, Winter Garden, Florida 34787 Madison Band Supply 1604-B Hughes Road, Madison, AL 35758 Marchmaster Inc P.O. Box 73379, Newnan, GA 30271 Troy University 109 Long Hall, University Ave, Troy, AL 36082 Southern Performances P.O. Box 6852, Gulf Shores, AL 36547 University of Alabama at Birmingham 950 13th Street S., Birmingham, AL 35294 University of North Alabama 1600 Tune Ave., Florence, AL 35630 University of South Alabama LPAC 1072, 5751 USA Drive South, Mobile, AL 36688 24 October/November 2020

Tips That Click In this issue, Tips That Click features a short article that first appeared in the NBA Journal. The author, Gary Barton, is a very experienced teacher in the schools of Texas and a member of Alpha Chapter of Phi Beta Mu. He has developed classroom systems that have helped him deal effectively with large numbers of young students (80+) in an efficient manner and with great outcomes. I think many of us have used bits and pieces of his ideas, but I think that his comprehensive system really covers all of the bases and in a manner that can be executed efficiently. Some of the Best Teaching Can Happen Before Rehearsal Starts by Gary Barton – LaPorte, TX “My band knows that when I step on the podium, class starts.” This Any Fundamentals Book is true in most rehearsal rooms. I used this myself, but I never 1 page 4, lines 2 and 7 (long tones) thought of it as the time when my actual class started. This was 2 page 7, lines 3 and 4 (articulation) when my rehearsal started. During the last half of my career, I 3 page 22, lines 4 and 5 (concert Ab and Db major scales) decided that class should start at the very moment a student enters 4 brass: page 8, line 3 (lip slurs); woodwinds: page 10, line 9 the room. I know that keeping the instruments silent before (Ab thirds) rehearsal creates a more orderly atmosphere, but I want to hear 5 slowly practice a passage in your music that is giving you productive sounds before I begin rehearsal. I was that student who trouble couldn’t wait to play. To be warmed up before rehearsal is a common expectation in university and professional settings. A university The objectives on the board are flexible and will change daily. They concert band won’t have fifty to ninety minutes of rehearsal each are intended to keep the students on track and can be more or much day. While some ensemble warm-up may happen, it will be slowed less material depending upon the ability and level of the students. down if the players are playing their first notes of the day when the conductor begins. For a professional group time is money, and that The teacher has responsibilities during these minutes as well. This is money is not being paid to the players to warm-up. I have always not a time for dealing with fundraising collection, permission slips, believed that players should warm-up before rehearsal begins, but to or any other paperwork tedium. These are suggestions, but very create a culture in your classroom where class starts, including your strong ones: grading policy, before you start as a group can bring a wealth of benefits. For At Least Three to Five Minutes After All Students Are Playing 1 Take attendance. I’ve never called role in a band rehearsal Lining up outside the door, entering the room silently, refraining and never past the first week in a beginning class. from playing until the director begins the ensemble, all are great 2 Walk the room and check reeds, random inspection of classroom management techniques. When looking for ways to get an water key corks, etc. Note hand positions, embouchures, unruly class in order, these are always among the most common posture, assembly. suggestions because they work. I view these as training suggestions, 3 Make the students aware that you are listening to what they but once the students are trained and are meeting your expectations, are doing and how they are doing it. adjustments can happen. Lining up at the door is only if you cannot supervise your room because of hall duty or any other distraction. Making a portion of your grades a participation grade is an excellent We all agree that students should be supervised once they enter the idea. Carry your gradebook or electronic device in your hand as you room. My goal is for students to enter the room as quickly as monitor the room. I have even carried an instrument and played possible with normal to quiet voice levels and to begin practicing as with students during this time. Your modeling proper practice is a soon as possible. powerful tool. Students must be taught how to warm-up and every teacher I know In education, we say that students will meet expectations. This is does this well. At the same time, students’ knowledge that they only true if teachers are tenacious about their expectations. If you should start with long tones is not a guarantee that they will do so. train your students to use those few minutes before the tardy bell The most advanced students will always do things correctly, but and then a few minutes after the bell to warm-up, get the fingers most students will need constant and consistent guidance. Current moving, make great sounds, when you give the downbeat your group practice in schools is for the teacher to have objectives listed on the will be mentally and physically ready to make music. board and administrators will look for them during observations. Music directors have listed a rehearsal order for decades, so that list Rho Chapter of Phi Beta Mu International Bandmaster could begin with the individual pre-rehearsal warm-up/practice Fraternity is committed to the improvement of bands and objectives. I believe every instrumental class at every level should band instruction in this state. Comments on this column and utilize a book for fundamentals. The following is a suggestion that ideas for future columns are welcome! Please email: could be on the board and is not based on any particular book: [email protected] ala breve 25

Daniel Stevens- President, Alabama Orchestra Association It is at this time every the core of every music educator in These ‘changes’ have tested our patience and year that trees turn Alabama. I am awed that each of you wake helped us simplify to what is deemed the magnificent shades of up each day to inspire the students in front most notable joy we can discover from an color, days grow of you (with a smile on your face), regardless appreciation for music. Instead of fighting shorter, cooler of the method of delivery. These trials have the ‘change,’ it is best to embrace what is not weather begins to set caused us to face ‘change’ head on – yuck – in our control, and find new ways to inspire, in, and education I shudder at the thought of a ‘change’ to connect, and communicate. The Alabama switches from hybrid to face-to-face, to lesson Plan F, the rescheduled upcoming Orchestra Association has been in the midst virtual, to in-person, and back to hybrid performance, creative instrument tuning of plenty of ‘change’ lately. While instruction again. Thankfully, the last through Zoom, or the inevitable principal challenging to implement, we are pleased to example does not happen annually, but musician placed in quarantine. share a few highlights of ‘change’: neither does a pandemic that has challenged VIRTUAL AUDITIONS: In light of the COVID-19 pandemic, 2021 All-State Orchestra Auditions are being held virtually this Fall. AOA WELCOMES 9 NEW DISTRICT CHAIRS: We are excited that our leadership team is growing and evolving! ASSISTANT EXECUTIVE DIRECTOR: Barbara Harrington begins an integral supporting role to Executive Director Julie Hornstein ADDITION of an ALL-STATE CHAIR: Leroy Hughes graciously steps into a new defining role In addition to the exciting announcements engage with an incredible leadership team Please take a moment to meet our AOA above, I want to personally invite you to visit here to serve you. Let us help you find District Chairs, as they continue to the AOA website at www.alabamaorchestra resources for your ensembles, classrooms, encourage your woodwind, brass, association.org to preview all of the and virtual educational space. percussion, and string students to submit a sweeping changes taking place, and to virtual 2021 All-State Audition: NORTHERN DISTRICT Jacob Frank Stuart Tankesley SOUTH CENTRAL DISTRICT Decatur Youth Huntsville High Symphonies School EAST CENTRAL DISTRICT Chin-Mei-Li Joshua Wine Montgomery Auburn Junior Music Project High School Keith LaBenne Jeremy Stovall SOUTHWEST DISTRICT Gadsden City Jacksonville State High School University CENTRAL DISTRICT Felicia Lett Kristi C. Howze Dunbar Creative Satsuma High and Performing School Kathryn Lamb Barbara Harrington Arts Magnet Samford Univer- Samford School sity Academy of University SOUTHEAST DISTRICT the Arts Tricia Marotz Jason Sulliman WEST CENTRAL DISTRICT Tri-State Troy Community University Orchestra Moisés Molina Mary Lindsey Bailey University of University of Alabama Alabama 26 October/November 2020

The Alabama Orchestra Association is excited to bring world-renowned educators to Alabama: AMEA CONFERENCE - January 2021 Dr. Christopher Selby, Featured AOA Clinician – author of Habits of a Successful Orchestra Director, Music The- ory for the Successful String Musician, and co-author of the Habits of a Successful String Musician series, published by GIA. He is an active clinician and has presented sessions at two Midwest Clinics, the 2016 NAfME National Con- ference, five American String Teacher Association (ASTA) National Conferences, and he currently directs the high school orchestras at the School of the Arts in Charleston, SC ALL-STATE ORCHESTRA COMPOSITION CONTEST WINNER - February 2021 Dr. Christopher Schmitz – Congratulations to Christopher Alan Schmitz for being named Alabama Orchestra Asso- ciation's Composition Contest 2021 winner. His piece will be premiered by the All-State Festival Orchestra on Febru- ary 14, 2021 at Moody Music Building in Tuscaloosa. He currently serves as Professor of Music Theory and Composition at Mercer University in Macon, Georgia. He holds a Doctor of Musical Arts degree in composition from the University of Texas at Austin. Important AOA Dates for 2020-2021 All-State String Audition Submission Deadline...............................................October 18, 2020 All-State Woodwind, Brass, and Percussion Audition Deadline...............November 15, 2020 AMEA Conference...........................................................................................January 21-23, 2021 All-State Orchestra Festival...........................................................................February 11-14, 2021 Orchestra Music Performance Assessment......................................................April 16-17, 2021 Thank you for inspiring the next generation of professional musicians, educators, and arts philanthropists. Help your students embrace ‘change,’ remind them that our future is bright, and provide hope that our ensembles will soon be filling auditoriums with beautiful music once again. Blessings, Daniel Stevens 27 ala breve

Ready, Aim, Improvise! by Dr. Matt Leder During these strange times, everyone has Improvisation can be intimidating when melodies. Another thing to keep in been tasked to improvise and create new one first approaches it. So can mind…start simple! Often a more teaching strategies to comply to CDC swimming! Dip your toe in the water simplistic approach reaches a greater guidelines dealing with Covid-19. It is and you may find that the water is all audience. This approach is also helpful interesting to see how programs are right! I am going to present an exercise in stretching out our ideas.  dealing with the current teaching that I have used for beginning students, environment. The creativity is exciting college students, and professionals. Wynton Marsalis has stated that “you and I sincerely believe some of us are Please feel free to use this with your will start with the blues and you will finding even better ways to teach. While students.  come back to the blues”. The blues and we are creating new teaching strategies, improvisation are an important part of we have to keep in mind that I have found that over the years, the jazz genre. I will show a way.not administrators and curriculum specialists improvisation can be approached by necessarily THE way, but a way. There will eventually review our performance. students of all ages. It is very common are lots of ways to approach the study When evaluating our programs, we may that improvisation is not studied or of improvisation. Let’s break things refer back to “The National Standards attempted until high school or later.  down. The traditional blues is 12 bars or for Music Education”.  Did you know Musicians in New Orleans start at a very measures: that improvisation is listed in these early age! While young children in New standards? There are several music Orleans grow up with a certain culture, I 1 (C)        I 2 I3 I4 programs that do not include this music am still convinced that students can standard in that there is a lack of approach improvisation at a very early 5 (F)      I 6 I 7 (C) I 8 knowledge or resources to teach age; regardless of geographic area. improvisation or in most cases, there Through my years of giving clinics I 9 (G) I 10 (F) I 11 (C) I 12 (G) just isn’t enough time in the day.  have often wondered why some top- notch university jazz programs can The blues are based upon a vocal I have been writing grants to help our sound like professional studio bands, but tradition and I will show you a formula students deal with the current situation as soon improvisation is required there for your students to create simple and I have had some success. As music is sometimes a very large gap in skill. We melodies. If you are writing a paper, directors, we have to keep our eyes open can do better!  giving a speech, or improvising a solo and our ears to the ground for you will need a topic to base your ideas opportunity! Don’t sleep on funds that One of the goals of improvisation is to on. If we were writing a paper on Louis may become available to your program produce meaningful melodies. In fact, in Armstrong, our topic would be Louis to help students. Refer to the National a conversation with Branford Marsalis, Armstrong. If we are improvising a solo, Standards of Music Education if Marsalis stated, “So often universities you will need a short musical idea to needed, talk to your administrators, and are so focused on harmony and while base your solo on. Keep it simple!  This help create more opportunities for your that is important…melody is what sells could be 3 notes, it could be a very short students. Perhaps start a jazz ensemble records”! If we are to study melody, let’s phrase. Remember the shorter the or popular music ensemble? look at melodies and their structure. phrase is, the easier it will be to Look at a fake book or real book of 28 October/November 2020

remember! If you played a solo for 5 minutes straight, would you remember the first idea you played? Keep it simple and you might! Great players like John Coltrane could take the simplest of ideas and stretch them out in a lot of creative directions.  Now that you have established your approaches that can be taken. Once this complex tunes and yes, we do revisit the motif or musical idea, what do you do? goes well, have your students create 10 blues from time to time. Keep your eyes Try having your student improvise freely different motifs to base their solos on. out for opportunity and continue to using the idea with a play along They should be short and unrelated to learn. Education is not a race, it is a recording or rhythm section. You may each other! The only rule is that one idea marathon and never truly ends. Enjoy find the solo might lack some structure. can’t sound anything like the other. After the journey! Now, ready…aim…. It is time to use that formula! Try this: a few motifs, students may find that Improvise! I look forward to seeing you Play your short idea in measure 1 and their vocabulary is limited. Have them on the band stand, and on the other side then leave space! Space is music too and listen to the jazz masters. All of the of better!  it will be hard for the student to resist sudden, CD’s or even a single solo can the urge, but allow the space to occur. A become an encyclopedia of information! In the spirit of swing,  good pot of gumbo needs to simmer a You can expand this exercise to include bit and another thing to keep in mind is a 2nd idea on measure 3 and 7 (repeat Dr. Matt Leder that in order for a conversation to take that 2nd idea on those measures), etc. place, there must be space. Too many There are all sorts of directions you Join or renew your times the soloist is simply doing their could go with this formula. Be creative! I membership today! thing and the rhythm section is left to be have had my students learn several blues the blue-collar worker. Try a different heads or melodies and then create their approach! Let the rhythm section own melodies using this formula. They contribute to the solo. It’s not one have created an “unlisted YouTube person’s solo…it’s the band’s product! video” of their performance and they Everyone should listen with big ears and send me the link. I’m able to view their work together. Okay, back that formula! performance and give back feedback. Again, play the short motif on measure Students seem to enjoy the opportunity one and leave space. Repeat the short to create and improvise!  motif again on measure 5 and leave space again! On measure 9, play something different to sum up the solo. If you think about a blues singer, they will tell a story in their lyric…. state an idea, elaborate on that idea, and then sum it up. Think about this concept as Verse, Verse, Hook! The formula looks something like this: Motif - short musical idea (your topic for the solo) VERSE 1 (C) Play short motif and leave space! I2 I3 I4 I 7 (C) I 8 VERSE 5 (F) Play short motif again and leave space! I 6 I 11 (C) I 12(G) HOOK 9 (G) Play something different to “sum” up I 10 (F) I have found that this formula works I hope this short lesson helps you and http://nafme.org well and puts structure to a solo. Again, your students. It is simply a way to this is just one way to improvise over the approach the blues or beginning blues. There are certainly many other improvisation. I use some of these concepts with students on more ala breve 29

2021 AMEA Performing Groups The Enterprise High School Wind Ensemble is an auditioned ensemble under the direction of Sean Weiler. It is one of four concert ensembles at Enterprise High School that make up their marching band. The ensemble has consistently made supe- rior ratings at Music Performance Assessment. The members consist of the 9th through 12th grade students. The ensemble performs regularly for the community serv- ing as an ambassador for the high school. The ensemble has performed at band festi- vals in Georgia, Tennessee, and Florida receiving superior ratings. The Wind Ensemble was selected to play at the 2009 Alabama Music Educator’s Professional Development Conference in Tuscaloosa, Alabama. The Hartselle High School Band is a very integral part of our city and school system. The band students represent our community with class and great pride with their musical achievements throughout the State of Alabama. The Hartselle High School bands motto is “Be a Part of a Winning Tradition”. Whether it is on the competition field, the concert stage, earning numerous music scholarships, or in the academic classroom, students excel with winning achievements. The band keeps spectators in their seats during halftime and has brought the game day pageantry to an all-time high in our city. Immediately following half-time the band moves from the field into the stands for a post halftime performance which always brings the fans to their feet. The marching bands formula for success is very straightforward. Entertain the crowd, never take your audience for granted, and musically perform at the highest level. The Symphonic Band is the premier performing ensemble within the Hartselle Band Program. The symphonic band has earned straight superior ratings for the past 17 years including multiple band of distinction honors. The emphasis of the symphonic band is based on acute attention to fundamentals of music, performing challenging literature, reading multiple compositions throughout the year, and preparing students who want to perform beyond their secondary experience. Students engage in a positive worthy experience along with depths of musical exposure which allows them to be successful beyond their high school years. The Hewitt-Trussville Middle School Honors Choir is comprised of seventh and eighth grade students who auditioned and were placed in the ensemble. This choir performs challenging literature and sight-reads at an accelerated level. The Honors Choir performed by invitation at the University of Montevallo’s Festival of Voices and has also participated in events throughout the community, including the Bicentennial Celebration and caroling for hospitals and nursing homes. The eighth-graders who comprise the majority of this choir have earned superior ratings at Solo & Ensemble and State Choral Performance Assessments—on stage and in sight-reading—since they were in sixth grade. The Spain Park High School Treble Voices are the combined treble singers from the three SPHS curricular choirs: Concert Choir, Treble Ensemble, and Rhapsody In Blue show choir. Each ensemble rehearses four hours each week during normal school hours. Rehearsal emphasis is on intermediate to advanced musicianship and sight-singing, vocal production, vocal technique, and ensemble performance. The Spain Park High School Treble Voices have received the Distinguished Musicianship Award in recognition for receiving all Superior Ratings at the Alabama State Choral Performance Assessment for the past ten years. Choirs from Spain Park High School have represented the choral department, school, and community as guest performing choirs at The University of Alabama, Huntingdon College, and The University of Alabama at Birmingham. The Choirs have accepted invitations to participate in the Choirs of America for Top Choirs Festivals at Carnegie Hall in New York City (2017 and 2021) and Anaheim, California (2019) . While the students of the Spain Park High School Choral Department strive for excellence in their musical endeavors, they also apply life lessons and discipline learned through choral singing to their everyday lives. For more information on the Spain Park High School Choral Department, visit spainparkchoir.com. 30 October/November 2020

2021 Conference Featured Speakers & Clinicians Keynote Speaker: Robert “Bob” Morrison Robert B. Morrison has a long history as a supporter of music and arts education and is widely recognized as one of the nation’s leading researchers and advocates for arts education. Mr. Morrison is the founder and CEO of Quadrant Research, the nation’s preeminent arts education data analytics and market research firm. Mr. Morrison’s leadership in research, public policy, and advocacy efforts have led to significant advancements in access to music and arts education programs in America. Mr. Morrison also serves as the Director of Arts Ed NJ, the statewide arts education policy group for New Jersey. Through his work, New Jersey has emerged as the leading state for arts education in the country. Mr. Morrison has a deep body of research and policy work and is recognized as a pioneer in statewide arts education status and condition research. In California, Mr. Morrison’s report The Sound of Silence: The Unprecedented Decline of Music Education in California Public Schools (2004) was one of the catalysts for a $1 billion reinvestment into music and arts education in public schools that was signed into law by then-Governor Arnold Schwarzenegger; in New Jersey, Mr. Morrison was the managing partner for the groundbreaking New Jersey Arts Education Census Project, completing the first statewide census for arts education in every school building. Before founding Quadrant Research, Mr. Morrison was the founder of Music for All, one of the nation’s largest and most influential music education organizations where he remains Chairman Emeritus. Mr. Morrison helped develop and then served as the CEO of the VH1 Save The Music Foundation, where he created a major national brand responsible for donating more than $25 million of musical instruments to restore more than 1,200 music programs. Mr. Morrison’s advocacy work has earned him both a Prime-Time EMMY and a Peabody Award. Keynote Speaker: Judy Bowers Judy Bowers, Professor Emerita in the College of Music at Florida State University, currently lives in Monroe, LA and holds the Beidenharn Chair in Music as choral music education professor at the University of Louisiana, Monroe. At ULM, she led a curriculum revision for undergraduate music education degree programs and established a three summer Master of Music Education program for practicing teachers. Across her career in music teacher preparation, Bowers has taught undergraduate and graduate classes for music education, and she conducted the Women’s Glee Club at FSU, and currently conducts the newly formed Bayou La Belle at ULM. A belief that the teaching/learning process is a collaborative act has led Bowers to create multiple partnerships developed to enrich learning opportunities for university students and make other positive changes for school and community partners: Adopt-A-Choir, a high school/university connection for one concert during one semester; Raa Singers, part of a before-school program pairing university students with urban middle school students for multiple choral and instrumental classes, and, MTC Glee, which structured singing and performing between women within a correctional facility and volunteer FSU students. Bowers contributes to music teacher professional growth through publications, interest sessions, and school in-service, then models these teaching behaviors and strategies when conducting all state and honor choirs in the US, Canada, and Africa. In June 2014, Bowers was named a Lowell Mason National Music Education Fellow and was inducted into this society by the National Association for Music Education in Washington D.C. All-State Show Choir Vocal Clinician Mark Myers Mark Myers is a nationally renowned choral conductor, music educator and arranger. In his role as Associate Artistic Director, he co-conducts the world renowned mixed-voice ensemble Voice of Chicago, assists with the Dimension ensemble for changing male voices, mentors a faculty of 13 choral music educators working in the In-School and Neighborhood Choir Programs and helps set the artistic and educational vision for the overall organization. Mark began his teaching career as Director of Choral Programs at The Choir Academy of Chicago Children’s Choir, a Chicago Public Schools charter school in the McKinley Park neighborhood focused on choral music education. As a first year teacher, Mark built a successful choral program from the ground up, serving over 200 students from across the city in five different vocal ensembles. He holds a Bachelor of Arts in Music Education from North Central College in Naperville, Illinois, where he was named the Outstanding Music Major, and a Master of Music in Music Education from Northwestern University, where he was the Program Honors recipient in Music Education. He has also worked on the faculty of Showchoir Camps of America for the last 23 years as a pianist, choreographer and vocal director. All State Show Choir Choreographer Shane Coe Shane Coe is a freelance choreographer, adjudicator and clinician based in Columbus, Ohio. He graduated from Teays Valley High School where he was a part of the award winning “Prominent Rendition.” Shane is a graduate of Bowling Green State University in Bowling Green, Ohio, where he received a Bachelor of Arts in Popular Culture and a minor in music. Shane also studied music education for four years while at BGSU. He currently choreographs for many show choirs across the country and his groups have won many best choreography awards. Shane has also choreographed for collegiate operas, musicals, A Cappella groups and barbershop choruses. He was a member of the BGSU Men’s Chorus as well as a founding member of the Pop – A Cappella group, the HeeBeeBGs. While with the HeeBeeBGs, he helped the group with best choreography at ICCA. In his “free” time, Shane enjoys reading and hanging out with his dog, Wrigley. ala breve 31

2021 All-State Jazz Band Clinicians Born and raised in a small town in Southwestern Pennsylvania, Alan Baylock has composed music that is performed throughout the world. One of the most respected and sought-after jazz composers and educators in the industry today, he is the director of the Grammy-nominated One O’Clock Lab Band at the University of North Texas, and previously served 20 years as Chief Arranger for the USAF Airmen of Note in Washington, D.C. The Alan Baylock Jazz Orchestra recorded three critically-acclaimed CDs and performed throughout the United States for 15 years. Baylock graduated from Shenandoah University (BME 1990), where he later became Jazz Composer-in-Residence, and the University of North Texas (MM 1994). Baylock travels extensively as guest conductor and clinician, and has been featured with close to 100 professional, collegiate, high school (all-state and regional) and middle school jazz ensembles. Alan is on faculty at the National Jazz Workshop (NJW) and directed the NJW All-Star Big Band in performances on the East and West Coast. He is an active member of the Jazz Education Network (JEN) where he mentors recipients of the annual Young Composers Award and is a guest clinician for the JENerations Jazz Festival. Thanks to the Nu Psi Chapter, Alan became an honorary member of Phi Mu Alpha in 2016, and became an honorary member of Kappa Kappa Psi (Kappa Epsilon Chapter) in 2017. Baylock lives in Denton, Texas with his wife, cellist Maria Baylock. In his spare time, Alan is an avid table tennis player. Dr. David Phy joined the Birmingham-Southern College faculty in 2018 as the Director of Bands. He has a Bachelor of Music Education (jazz emphasis) from the University of Louisville, a Master of Music in Jazz Studies from the New England Conservatory of Music, and a Doctor of Musical Arts in Jazz Studies from the University of Illinois. He has been published in the International Trombone Journal and is a member of the Alabama Music Education association (AMEA) and the Jazz Education Network (JEN). A trombonist, arranger, composer, and educator his teachers include Jim Pugh, Norman Bolter, Bob Brookmeyer, Gunther Schuller, George Garzone, George Russell, Steve Lacey, John “Chip” Stephens, and Chip McNeil. Prior to moving to Birmingham Dr. Phy taught and performed in the New Orleans area including at the University of New Orleans, Dillard University, and Delgado Community College. Dr. Phy has presented workshops at the Louisiana Music Education Association, served as a clinician and performer at the Jazz Education Network Conferences, and given seminars at numerous universities in Alabama, Kansas, Louisiana, Mississippi, Missouri, Texas, and Oklahoma. Dr. Tracy Heavner is an internationally renowned music educator and distinguished performance artist who performs in a variety of genres ranging from classical to jazz. His talents as a saxophonist, clarinetist and flautist are witnessed on stage as a soloist, chamber ensemble and combo member and also within the jazz ensemble and orchestra. His professional achievements off the stage are equally impressive in the areas of education, teaching, performance and scholarship. Dr. Heavner currently serves on the faculty at the University of South Alabama as a professor of saxophone, music education and director of jazz studies. He is a full member of the graduate faculty and area coordinator for all music education courses in the department of music. He is the university supervisor for all instrumental music education student teachers and also serves as the music education liaison to the College of Education. His teaching duties include courses in music education, music education technology, applied woodwinds and jazz studies. In addition, he regularly serves as an adjudicator and clinician in both classical and jazz styles for various music festivals, competitions and masterclasses. Most recently, he served as an adjudicator for the Texas Christian University Jazz Festival and is scheduled to adjudicate the Brandon Jazz Festival in Manitoba, Canada in March. He has also served as the High School All-State Jazz Ensemble Director/Clinician for the states of Alabama, Michigan, Louisiana, Pennsylvania and South Dakota. Furthermore, he is a Fulbright Scholar Training Specialist and has been teaching at the University of South Alabama for the past 25 years. Dr. Matt Leder is an avid educator and has performed as a guest artist / clinician throughout the United States. Dr. Leder holds a DA in Music Education from the University of Northern Colorado, a MM in Jazz Studies from the University of New Orleans, and a BM in Jazz Performance from East Carolina University. While at UNO, Leder was a member of the “Louis Armstrong Quintet”, funded through the Armstrong Foundation. Dr. Leder has studied with Ellis Marsalis, Clyde Kerr, Irvin Mayfield, and many others. He has a passion for the music and culture of New Orleans. Dr. Leder’s dissertation, “Towards An Informed Pedagogy of Modern New Orleans Style”, describes New Orleans style and offers possibilities of adding this syntax of jazz into the modern classroom. Recently, Dr. Leder was invited to be a National Endowment of Humanities Summer Scholar at Tulane University in New Orleans. Dr. Leder has been a professional musician for over 20 years and performs all genres of music. Leder served over eight years as an active duty Navy musician and four years as an Air Force musician. While a member of the armed forces, he performed for five US presidents. Dr. Leder has served as Music Director/Instructor at Gadsden State Community College since August 2014. Prior to this appointment, he was Chair of the Music Department at Northern New Mexico College. It is Dr. Leder’s hope that his students will develop an appreciation of Jazz and perform at the highest level of musical excellence. It is also Dr. Leder’s passion to bring jazz awareness to the community at large. 32 October/November 2020

AMEA 2021 Clinicians Dr. Julie Bannerman is an Assistant Professor of Music Education at the University of Alabama, Tuscaloosa. She works with undergraduate and graduate students in music education and coordinates the PreK Music Partnership. She taught general music in diverse early childhood, elementary, and middle school settings, and served in the United States Peace Corps as an education volunteer in Nicaragua (03’-05’). She is published in the Journal of Music Teacher Education, Bulletin of the Council for Research in Music Education, and the Journal of Research in Music Education. Dr. Bannerman regularly presents research and clinical sessions at regional and national conferences. Matthew Chambless began his teaching career in 2014, and is the Director of Bands at Simmons Middle School. Mr. Chambless has held positions at Chickasaw High School, Holtville Middle School/High School, and Double Springs Middle School/Winston County High School. Bands under the direction of Mr. Chambless have consistently received superior ratings at marching band competitions, and have received superior ratings at the Alabama Music Performance Assessment. In 2019 the Simmons Middle School Honor Band was selected as a guest performance ensemble at The University of Alabama Middle School Honor Band Festival. Mr. Chambless earned a Bachelor of Science degree in Education from The University of Alabama and holds class B certification in pre K-12 Instrumental Music Education. During his tenure at Alabama Mr. Chambless was an active performer and held positions with the Million Dollar Band, Alabama Wind Ensemble, Alabama Symphonic Band, Huxford Symphony Orchestra, Alabama Jazz Ensemble, Alabama Brass Choir, and the Alabama Trumpet Ensemble where he served as the conductor of the trumpet ensemble in 2013. Mr. Chambless is still an active performer having previously held a position in the Shoals Symphony Orchestra, and is now an active member of the community band Alabama Winds as well as performing at many churches in the Birmingham, AL area. Mr. Chambless enjoys playing tennis, spending time with friends and family, and traveling. Mr. Chambless is married to Victoria Chambless who is an outstanding flute player and the Director of Bands at Rudd Middle School. As a native of Hoover, AL and a product of Hoover City Schools Mr. Chambless is thrilled to be teaching in Hoover City Schools, and to be the Director of Bands at Simmons Middle School. Patrick Darby is currently in his ninth year of teaching. He received his Bachelor’s and Master’s degrees from the Uni- versity of Southern Mississippi. His teaching career started in Montgomery, AL at BTW Magnet High School (2009), and Baldwin Arts & Academics Middle School (2017). His performing ensembles earned superior ratings at MPA and student representation in district and state festivals. Currently, as the director of bands for the Pike Road Schools sys- tem, he is building a band program from the ground up. The Patriot Marching Band, Concert Band, and Jazz Band have consistently received Superior ratings at MPA and marching festivals. Julia DeSerio is the Chorus and Piano Director at Crest Middle School in Shelby, NC. She has presented at the North Carolina Music Educators Association Professional Development Conference, been interviewed by Education Today for her work in music education during the COVID-19 pandemic, and was most recently nominated for Beginning Teacher of the Year for Cleveland County Schools. In addition, Julia is an accomplished vocalist, placing 1st in the National Association of Teachers of Singing Competition at both the state and regional levels. She also completes community service work and additional music education advocacy as Miss Gastonia 2020-2021 through the Miss America Organization, partnering with organizations like the YMCA and Salvation Army to provide arts-based opportunities to at-risk youth. She holds a Bachelor of Music in Music Education from Gardner-Webb University. Second Prize Winner of the 2019 Mozart & Tchaikovsky International Conducting Competition, Dr. Thomas Dickey 33 currently serves as the Director of Orchestral Studies at Oklahoma State University, where he conducts the OSU Symphony Orchestra and guides all aspects of the orchestra and graduate orchestral conducting programs. He concurrently serves as Music Director & Conductor of the OSU Youth Orchestra and Community Orchestras. Prior to his appointments in Oklahoma, he was the Director of Orchestral Activities at the University of Wisconsin-Platteville and Music Director & Conductor of the Dubuque Symphony Youth Orchestra (IA). A native of Illinois, Dr. Dickey holds degrees from Eastern Illinois University, LSU, and the University of Georgia. He has worked with conductors such as Carl Topilow, Christopher Zimmerman, Daniel Lewis, Gustav Meier, and Diane Wittry, and further studied conducting in numerous workshops and master classes at the Prague Academy of Performing Arts, Cleveland Institute of Music, and Cincinnati Conservatory of Music, among others. Ellary Draper is Associate Professor of Music Therapy at The University of Alabama. Dr. Draper has worked as a music therapist and as an elementary general music teacher. Currently she serves as the Chair of the Special Education Committee for the Alabama Music Educators Association. Her research is published in the Journal of Music Therapy, Journal of Research in Music Education, UPDATE: Applications of Research in Music Education, and General Music Today. She holds degrees in music education and music therapy from Westminster Choir College, Florida State University, and The University of Texas at Austin. ala breve

AMEA 2021 Clinicians Jack Eaddy, Jr. is part of the Devmusic Company: Educational Programs Division. Dr. Eaddy earned degrees from UNT, UGA, and FSU. Dr. Eaddy taught for twelve years in Orlando, where he developed a program that was recognized throughout the state for maintaining high standards despite the challenges his students experienced. Dr. Eaddy received the Tom Bishop Award recognizing a director who revitalized a program, making a positive difference. Dr. Eaddy has presented at conferences, including the Midwest Clinic. As a conductor, he participated in the 2018 Army Bands conducting workshop and received 2nd Place for the 2020 American Prize. William J. Earvin is the Director of Bands at Baker High School (LA). Dr. Earvin earned degrees from CAU, MVSU, and NCU. Dr. Earvin is in his 20th year as music educator and his ensembles are consistently recognized for earning Superior Ratings at Performance Evaluations. Dr. Earvin received Yale School of Music’s “Distinguished Music Educator Award” (2013). While serving as the Vice President of The Devmusic Company, he also serves as a consultant for Music for All, the CMA Foundation, and has presented at numerous conferences including the Midwest Clinic. He is a member of LMEA, NAfME, LMAA, and NBA. Denise Eaton is a music educator of thirty-four years, twenty-nine at the High School level and five as an adjunct professor at the collegiate level. Choirs under her direction have performed at four TMEA conventions and one SWACDA convention. Chamber choirs under her direction have won the prestigious American Classic Madrigal Festival an unprecedented six times. Denise has been the Choral Editor for Carl Fischer Music Publication, LLC and BriLee Music Company since 2011. An active clinician and conductor, Ms. Eaton spends time in choir rooms throughout the state of Texas as a clinician and has conducted over thirty Texas Region Choirs. On the national level she has conducted regional or All-State choirs in Arkansas, Louisiana, and Tennessee. Known for her innovative teaching styles, Mrs. Eaton has presented over fifty workshops in Texas, Florida, Georgia, Alabama, Oklahoma, Missouri and Iowa. Denise is proud to be a Past-President of TMEA. Ms. Eaton is the co-author of six sight reading books: SMART (Sight Reading Made Accessible Readable and Teachable), SMART Minor, published by Alliance Music,. Additionally, she has collaborated on InSight Singing, Insight Singing for Fixed DO, STEPS (Steps to Enhance Performance/Reading Skills), and STEPS for Fixed DO all published by Carl Fischer. Dr. Elizabeth Fisher is a lecturer at the University of Alabama Birmingham and at Samford University where she conducts the Vocal Jazz ensemble, and teaches courses in music education, piano, and music theory. She also serves as the Artistic Director of the Steel City Men’s Chorus in Birmingham, AL. Dr. Fisher’s scholarship focuses on restoring manuscripts of music composed for the for the women of the Ospedali as well as choral music’s engagement with social justice issues. Prior to her time in Alabama, Fisher was associate director of choral activities at University of Minnesota Duluth. Fisher holds degrees from Millikin University, Westminster Choir College, and Michigan State University. John Lewis Folsom, Jr. (Johnny) has recently retired from 45 years of full time band directing and resides in Columbus, Mississippi. He spent twenty-five years as a successful band director in Alabama, first at Geneva (8 years) and then at TR Miller, Brewton (17 years), and spent 13 years with the prestigious Cairo High School Band in Georgia. He also spent 7 years as the director of the Abraham Baldwin Agricultural College Band in Tifton, Georgia. Folsom now works with the Mississippi State University Music Department as an adjunct supervisor of student teachers. Folsom was a member of the Georgia Music Educators Association and served as chairman for district 2. He is also a past president of the Alabama Bandmasters Association. He was honored by the Troy State University’s music faculty as its 1996 Alumnus of the Year. He has judged numerous marching and concert festivals in Alabama, Georgia, Florida, Mississippi, and South Carolina and regularly serves as an honor band clinician. Mr. Folsom was honored to be selected to the Phi Beta Mu Alabama Bandmasters Hall of Fame and the High School Band Directors National Association Hall of Fame. Toni Garza graduated from Berklee College of Music with a Bachelor’s in Music Education and completed her MBA in Music Business from Southern New Hampshire University. Toni began her teaching career in the Boston Public Schools as a middle school choral and general music teacher and went on to teach elementary music, 4th-grade general education and eventually became an elementary music coach in the Metro Nashville Public Schools. Toni currently serves as an Instructional Coach and Clinician for QuaverMusic, which she describes as her dream job. In this role, she is able to combine her love of teaching and coaching to empower other educators to create a well-rounded and impactful music classroom. 34 October/November 2020





AMEA 2021 Clinicians Chris Johns is in his third year as the Associate Director of Bands at Walton High School in Marietta, GA. Previously, Mr. Johns was the Director of Bands at Dacula High School, Assistant Band Director at Starr’s Mill High School, and Assistant Band and Orchestra Director at Lanier Middle School. He holds a Bachelor’s Degree in Music Education from Columbus State University, a Master of Music Education Degree from the University of Georgia, and is a candidate for an Education Specialist Degree in Music Education from Auburn University. Additionally, he is a former brass technician for the Spirit of Atlanta Drum and Bugle Corps. Mr. Johns is a 2020 recipient of the CDBNA Mike Moss Conducting Fellowship. Dr. Gregory W. LeFils Jr. is a visiting assistant professor of choral music education at Stetson University. His duties include teaching music education classes and supervising student teachers. Dr. LeFils holds a PhD in music education from The Florida State University. Dr. LeFils’ professional experience includes directing two secondary choral music programs in Florida, conducing The Orlando Chorale and The Orlando Chamber Choir, and singing/soloing/guest conducting the Festival Singers of Florida. His research interests include teacher effectiveness, music teacher curriculum and training, and choral history. Dr. LeFils has presented over 20 state and national research and educational clinics throughout the region including the annual conferences of Music Education Associations in Alabama, Mississippi, Georgia, South Carolina, Texas, and Florida, as well as other various workshops for music educators in central Florida. His dissertation is entitled The History of the Stetson University Concert Choir. In addition to his roles as researcher and educator, Dr. LeFils maintains an active agenda as a speaker, clinician, and adjudicator across the region. Originally from Winnipeg, Canada, Ian Loeppky has been Professor and Director of Choral Activities at the University of North Alabama since the fall of 2003. He directs the two elite choral ensembles at UNA and teaches undergraduate and graduate choral conducting, world music, and graduate choral literature. In addition, he is the Artistic Director of the Huntsville Community Chorus Association, Artistic Director of KIConcerts biennial Voices United international festival, and is a frequent contributor to the ACDA Choral Journal and Anacrusis. His works are published by Kelman Music Press, Santa Barbara Music Publishing, UNC Jazz Press, and Carl Fischer. Christopher Loftin holds a Bachelor of Science in Choral Music Education from the University of Alabama and a Mas- 37 ter of Education in Choral Music Education from the University of Montevallo in Montevallo, Alabama. He has served as a middle and high school Choral Director in Chelsea, AL; Elementary Music Specialist in Centerpoint, Alabama; Mathematics Teacher in Murfreesboro, TN; and Mathematics Teacher and high school Choral Director in O’Fallon, MO. Christopher was most recently the Assistant Choir Director at Fort Zumwalt South High School in St. Peters, MO. While at South High School, he was awarded two Educator Innovation Grants for Classroom Learning, was named a district sight singing facilitator, and assisted on the music curriculum writing team. Christopher helped South High achieve school record numbers of All-District and All-State participants and achieve all Exemplary ratings at large group contest for the last four years. Christopher is an active barbershop singer, performer, performance coach, and clinician. He has coached ensembles from the US, Brazil, Canada, and Australia. He is a sought after choral adju- dicator, clinician, and festival preparatory consultant. He currently resides in Mountain Brook, Alabama with his wife, MK, and his cat, Leopold. Dr. Mark Hugh Malone is a veteran music educator with over 46 years of classroom experience in a variety of settings with students of all ages, has been a frequent presenter at the National Association for Music Education National Convention, MS Music Educators State Convention, LMEA, MS Whole Schools Initiative Summer and Winter Institutes, choral clinics for students and conductors, as well as organizer of professional development workshops for teachers. Dr. Malone has experience in elementary and high school music programs, was choral director at Pearl River Community College (MS), Coordinator of Music Education at William Carey University (MS), and is currently Visiting Professor of Music Education at The University of Southern Mississippi. Marcus Morris remains active across the Southeast as an adjudicator, presenter, performer, and clinician. He has presented multiple clinics at the SCMEA annual conference as well as several district PD conferences. In November of 2019, Marcus presented a featured session at the NAfME Conference in Orlando, Florida. Most recently he has presented at the Connecticut Music Educator’s Conference and the Virginia Music Educator’s Conference. He has conducted honor bands in several states, including North Carolina, South Carolina, Florida, and Georgia. Mr. Morris is the 2019 recipient of the South Carolina Music Educator’s Association Mentor Award. ala breve

AMEA 2021 Clinicians Judy Marchman is collaborative researcher in a number of studies with the UHealth Otolaryngology department in studies pertaining to the vocal health and vocal pathologies. She is co-participant/author of the articles, “Prevalence of Vocal Fold Pathologies Among First-Year Singing Students Across Genres” [The Larygoscope, 2019] and “Quantifying subjective and objective measures of singing after different warm-up durations” [Journal of Voice, 2021]. She has been accepted to perform at the OperaWorks Summer and Winter Workshops, the Atlantic Music Festival, the National Association of Teachers of Singing National Conference in Boston, and the National Opera Association Conference in Indianapolis. Performance awards include the Milton Cross Award and the Friedrich and Virginia Schorr Memorial Award. Dr. Marchman completed her D.M.A in Vocal Pedagogy and Performance at the University of Miami, her M.M. at Florida State University and B.M. at Palm Beach Atlantic University, and is currently working towards obtaining a master’s degree in counseling. DaShaun McGee is currently the Fine Arts Coordinator and Director of Bands at Wayne County High School in Jesup, GA where he oversees all aspects of the music programs in Wayne County. DaShaun received his Bachelor’s Degree in Music Education from Valdosta State University (2010). He earned his Master’s of Music Degree in Music Performance in Wind Band Conducting at Georgia Southern University (2014). He later returned to Valdosta State and earned his Education Specialist Degree in Educational Leadership (2016). He is currently pursuing a PhD in Music Education at Auburn University. Mr. McGee is an active member of a member of the Georgia Music Educators Association (GMEA) and National Band Association (NBA). He is currently the Vice Chair and the Large Group Performance Evaluations (LGPE) organizer for District 8. Mr. McGee is involved with the following professional organizations: Alpha Phi Alpha Fraternity (2008), Kappa Kappa Psi National Honorary Band Fraternity (2006), and the North America Saxophone Alliance (NASA). Ryan Murrell Biography Ryan Murrell is in his 10th year of teaching music and is a native of Homewood, AL. He went to Jacksonville State University in Jacksonville, AL to earn his Bachelors Degree in Music Education. In May 2019, he received his Master’s Degree in Music Education from the University of Southern Mississippi. While at JSU, he marched trumpet and was Head Drum Major in the Marching Southerners. He has worked in Alabama and Georgia. He has been the Band Director at Calera High School, Baldwin High School (GA), Sylacauga High School, Gadsden City High School, and now at Homewood Middle School. Dr. Matthew Myers is instructor of choral music education at University of Alabama, where he conducts the University Chorus and Chamber Choir, teaches introduction to listening and graduate choral literature, and supervises student teachers. He taught grades 6-12 choir at The American International School of Muscat in Oman and grades 9-12 choir, AP music theory, and class piano at Boylan Catholic High School in Rockford, IL. He holds a DMA in choral conduct- ing from Louisiana State University, an MM in choral conducting from Northern Arizona University, and a BA in vocal performance and music education from Luther College. Dr. Eric Posada is a vibrant and diverse conductor, choral educator, and mentor with sixteen years’ experience at the elementary, middle, high school, collegiate, university, community, church, and professional levels. During the 2020- 2021 academic year, Posada will serve as Visiting Professor of Choral Music at the University of North Carolina at Charlotte. Previous appointments for Posada include Director of Choral Music at Tyler Junior College and Associate Director of Choral Activities at Texas A&M University. A native of McAllen, Texas, Dr. Posada founded the Rio Grande Valley’s first professional chorus, Pasión, and serves as the ensemble’s Artistic Director. LAUREN RAMEY is a second-year Ph.D. student in choral conducting/music education at Florida State University. At FSU, she serves as assistant conductor of the Women’s Glee Club. Previously, she served as Director of Choirs and AP Music Theory at Ravenwood High School (Brentwood, Tennessee) and as assistant conductor of the Nashville Symphony Orchestra Chorus. In 2018, Ramey was a recipient of the CMA Music Teacher of Excellence Award as well as a quarterfinalist for the Grammy Music Educator Award. Under her direction, the Ravenwood Chamber Choir performed at the 2019 Music For All National Concert Festival and the 2017 and 2019 TNMEA Conferences. Ramey received Bachelor and Master degrees in Choral Music Education from the Blair School of Music at Vanderbilt University. 38 October/November 2020

AMEA 2021 Clinicians David Row loves teaching music to kids! A Nebraska native and Midwesterner at heart, David now lives and teaches in the Kansas City metro area for the DeSoto Unified School District. He holds a Master’s Degree in Music Education from the University of Missouri – Kansas City Conservatory, completed three levels and a master course in Orff Schulwerk training, and has extensive experience with critical thinking in the arts. David is an active clinician and has presented workshops at state and local conventions across the United States and Canada. On his blog, MakeMoments- Matter.org, David shares ideas about classroom content, management, lesson plans, critical thinking, and more. Search for “Make Moments Matter: A Music Education Podcast!” wherever you download podcasts or catch up with David every week on his “Musical Mondays” LIVE videos on Facebook. Dr. Christopher Selby is the author of Habits of a Successful Orchestra Director, Music Theory for the Successful String Musician, and co-author of the Habits of a Successful String Musician series, a collection of string method books for middle and upper level orchestras published by GIA. He is an active clinician and conductor, and has presented sessions at two Midwest Clinics, five American String Teacher Association (ASTA) National Conferences, and numerous state conferences across America. Dr. Selby regularly guest conducts Regional and All-State Orchestras, and he currently directs the high school orchestras at the School of the Arts in Charleston, SC. Under his direction, the School of the Arts HS Orchestras performed at the 2019 Midwest Clinic, and they won the 2016 ASTA National Orchestra Festival’s top award of Grand Champion in the competitive public school division. Dr. Selby earned his music education degree from the Hartt School of Music in Connecticut, and a Masters and Doctorate of Musical Arts degrees in Orchestral Conducting from the University of South Carolina. He began teaching at the Charleston School of the Arts in 2012, and before that Dr. Selby taught orchestra in traditional elementary, middle and high schools since 1992 He was the Orchestra Coordinator in Richland School District Two from 2001 to 2012, where he taught high school and supervised the district’s orchestra curriculum and instruction. He has held leadership positions on the Council for Orchestral Education in the National Association for Music Education (NAfME) and the ASTA Committee on School Orchestras and Strings. Dr. Selby was the President of the South Carolina Music Educators Association (SCMEA) from 2011-2013, and he served two separate terms as the President of the state’s Orchestra Division. He was named the SC ASTA Orchestra Teacher of the Year in 2009. He is a contributing author for Teaching Music Through Performance in Orchestra, vol. 4 and has written articles for NAfME and in ASTA’s American String Teacher. Mickey Smith has taught since 2005 in Texas & Louisiana. Over that time he has grown 2 programs over 500% en- compassing nearly half of the school population at both respective schools! In addition to playing music & teaching, Mickey also serves educators through his SOUND180 EDUCATORS program & supports organizations that promote music education. Mickey is this year's GRAMMY Music Education Award Winner. Dr. Morgan Soja is the Director of Music Education at Samford University. She most recently served as the Coordinator of Music Education at Gardner-Webb University in North Carolina. She earned her PhD and MM in Music Education from the University of North Carolina at Greensboro, and her BM in Music Education from Bowling Green State University. She has certificates in Kodaly levels I and II, and GIML Introductions to MLT and Elementary General Music coursework. Soja has served on the Higher Education Board of NCMEA, and is an active participant in the Supporting Beginning Music Teachers area of strategic planning and action of SMTE. She has presented frequently at state and national NAfME conferences. Dr. Jason Sulliman is Assistant Professor of Trombone at Troy University. He earned his DM in Brass Pedagogy from 39 Indiana University. Dr. Sulliman has given hundreds of clinics that focus on brass pedagogy, kinesiology, motor learning, and cognitive science. He has performed with the Indianapolis Symphony, the New Mexico Symphony, the Alabama Symphony, and the Dallas Brass Quintet. Jason was involved with the Tony and Emmy Award-winning Broadway show, “Blast!” as a soloist, conductor, and music manager and over a 15-year period performed over two thousand shows with the company. More information can be found at www.jasonsulliman.com. Martez Tidwell is the Director of Choral Music, Assistant Director of Bands, and Music director for the Theatre De- partment at Sylacauga High School in Sylacauga, Alabama. Martez obtained his Bachelor of Science in Music Educa- tion from the University of Mobile in Mobile, AL. He was a member of the Sounds of Mobile, RamCorps, Symphonic Winds, and Jazz Band at UM. In addition to his duties at Sylacauga High School, He has served as a vocal coach for the Sylacauga Community Playhouse's production of Addam's Family the Musical and assistant director for SCP's pro- duction of Steel Magnolias. He also has done vocal and talent coaching for contestants in the Miss Alabama and Miss Alabama Outstanding Teen pageant circuit! ala breve

AMEA 2021 Clinicians Currently in his 22nd year of teaching in the Bibb County Public Schools (Macon, GA), John Sweat is the director of orchestras and the guitar ensemble at Howard High School. John holds degrees in Violin Performance from the University of Georgia and Georgia State University. In addition to teaching at the high school level, he has served as adjunct faculty for both Wesleyan College and Mercer University. In 2013, John received the inaugural Robert McDuffie Center for Strings Award from the McDuffie Center for Strings at Mercer University. Under his direction, the Howard High School Orchestra program has earned consistent superior ratings from the GMEA Large Group Performance Evaluation. John has presented sessions for both orchestra and guitar divisions at the Georgia Music Educators Association In-Service Conference. He also serves as the Fine Arts Department Chair at Howard High School and is the 2019-2020 Howard High Teacher of the Year. He has been a member of several symphony orchestras in Georgia, South Carolina and Alabama, including a 20-year tenure with the Macon Symphony. John serves as the organist for Forsyth United Methodist Church and is married to Jennifer, Head of Middle School at Stratford Academy in Macon. They have three beautiful children – Brian, Amber, and John Mark. Mrs. Lindsey Underwood is the band director at Northridge Middle School. Throughout her ten years of teaching, she has taught middle and high school band, choir, musical theatre, private voice, and private instrument lessons. She obtained her Bachelor of Music Education from the University of Montevallo in 2010 with a focus in trumpet studies but was also an active choir member. Mrs. Underwood currently serves as the Music Director at First United Methodist Church in Montevallo. She still enjoys performing on stage and serving as musical director for local community theatre productions in the Birmingham area. She also plays trumpet in The Alabama Winds, an ensemble that performed at the Midwest Band & Orchestra Clinic in 2017. She has been invited to serve as a conductor and clinician throughout the state for various band programs and honor bands. She is an active member of the National Association for Music Education, Alabama Music Educators’ Association, Alabama Bandmasters Association, League of Women Band Directors, and Alpha Delta Pi Sorority. Aside from her musical endeavors, Lindsey enjoys fitness, the outdoors, reading, and spending time with her husband B.J. and their dogs, Andy and Ollie. Sadie Wall is in her fifth year teaching and second year at Edgewood Elementary School in Homewood, AL, where she teaches K-5 General Music. Additionally, she conducts Edgewood Choir and hosts a Drum Circle for her fifth graders. She is a member of Alabama Voices and has sung with the Alabama Symphony Orchestra Chorus and Birmingham Voices. Sadie Wall received her B.M. from the University of Montevallo. She holds Kodály certification through the University of Montevallo Kodály Institute and Orff-Schulwerk Level I through Samford University. Ms. Wall is a member of Sweet Home Alabama Kodály Educators and Alabama Orff-Schulwerk Association. Soprano Sarah Wee is an Assistant Professor of Voice at Troy University where she teaches private lessons, vocal ped- agogy, diction, and directs the Opera Workshop. Dr. Wee also enjoys a career singing recital, concert, and operatic lit- erature. Dr. Wee received her Doctorate of Musical Arts in Vocal Performance and Vocal Pedagogy at the Frost School of Music at the University of Miami, where she later served as a lecturer in the voice department. She graduated from Webster University with a Bachelor’s Degree in classical voice performance and earned a Master’s Degree in vocal performance from Washington University in St. Louis. Gretchen Windt, mezzo soprano, has completed apprentice and young artist programs with Sarasota Opera, Sugar Creek Symphony and Song Festival, Utah Symphony & Opera, and Ohio Light Opera. She has performed with Cincin- nati Opera, Opera Idaho, Opera Southwest, Chesapeake Chamber Opera, Bowen Park Opera, OperaModa, and DuPage Opera Theatre; favorite roles include Cendrillon, Périchole, Hansel, Cherubino, Dorabella, Third Lady, Orlofsky, Mer- cedes, Meg Page, Jo March, Angelina, and Rosina. She graduated from University of Utah (D.M.A), University of Cincinnati-CCM (M.M.), and North Park University (B.M.E.). She is an Assistant Professor at the University of North Alabama. Mr. Joshua Wine Joshua Wine is currently the Director of Bands and Chair of the Fine Arts Department at Auburn Junior High School in Auburn, Alabama, where he conducts and oversees three concert bands, percussion methods class, jazz band, music study club, and teaches music appreciation. Furthermore, Mr. Wine assists with the instruction of the award-winning Auburn High School Marching Band as an Assistant Director. In addition to his teaching respon- sibilities, Mr. Wine serves as Assistant Minister of Music/Orchestra Director at Lakeview Baptist Church in Auburn, Conductor & Music Director for the East Alabama Community Band, and Director of Summer Band Camps at Auburn University. A native of Wetumpka, Alabama, Mr. Wine earned his degree in Music Education from Troy University, where he served as a section leader and drum major for the renowned “Sound of the South” Marching Band and partic- ipated in a myriad of different instrumental and vocal ensembles. Mr. Wine lives in Auburn with his wife Haley, twin sons: Anderson (Andy) and Lincoln (Linc) & daughter Emerson (Emmy). 40 October/November 2020

2021 AMEA Conference Schedule Thursday, January 21, 2021 5:30-5:45 pm Welcome and Opening Remarks AMEA President David Raney 6:00-6:45 pm ABA Interest Session Make Band THE Thing, Not Just Another Thing Johnny Folsom, Clinician Create a viable musical organization that is an integral part of the school and the community. 6:00-6:45 pm AOA Interest Session Habits of a Successful Orchestra - Fine Tuning Your String Ensemble Christopher Selby, Clinician In this session we examine what causes orchestra intonation problems and introduce skill-building finger pattern studies, fingerboard mapping worksheets, velocity etudes, tuning canons and chord progressions that teachers can incorporate into daily orchestra rehearsals to teach students how to listen and finely tune their notes the way professionals do. 6:00-6:45 pm AVA Interest Session Intentional Choral Warmups: Skill Building and Accountability Eric Posada, Clinician A rehearsal typically begins with a warm-up that ranges from breathing and vocalizing to stretching and movement. We must ask ourselves: Have our warm-ups grown stale? Can these skills transfer to our choral repertoire? Am I consistently assessing and giving feedback? Through various warm-up exercises, Dr. Posada will identify each targeted skill while diagnosing issues and proposing solutions. This topic is crucial to the development of singers, choirs, and directors. Ironically, it is also a subject that remains a collective mystery. My primary objective is for middle school and high school choral directors to return to their home schools and reinvent their current warm-up routine. Warm-up exercises should be treated akin to repertoire rehearsals via constant assessment, immediate feedback, and effective solutions. Consequently, these exercises will build vocal technique, aural skills, musicianship, and awareness in singers that will transfer to the choral repertoire and rehearsal. To achieve my goal, I will use the convention audience to provide tangible examples of my methodology. I shall use a varied collection of warm-ups from familiar exercises to specific drills that encourage voice building skills, chord tuning, vowel unification, open/closed vowels, dynamic contrast, consonants and enunciation, simple and advanced kinesthetic movements, and stretching. 6:00-6:45 pm cNAfME & HED Interest Session Why so Blue?: Issues Related to the Psychological Wellness Among Student Musicians and Performance Artists Judy Marchman, Clinician The psychological wellness of the student musician and performer has been given importance only within the last few decades. This presentation will outline several points concerning the psychological wellness of student musicians and performers. Further discussion will include the role of the music instructor (primarily the roles of the applied teacher and the classroom educator) and the instructor's responsibilities regarding the mental or emotional health of a student musician and performer. 6:00-6:45 pm ELEM/GEN Interest Session Sing Play Think! Critical Thinking for Everyday Learning David Row, Clinician Impress your administrator, improve student learning, and gain confidence when you make critical thinking a priority in your classroom. Whether you are playing instruments, singing, dancing, or reading music you can encourage critical thinking with a few basic teaching strategies. This session will cover tactics like effective questioning, wait time, transfer of knowledge, and think alouds. You’ll walk away with resources and ideas to integrate strategic thinking into all your lessons. 7:00-8:00 pm AMEA General Session AMEA Business Meeting Keynote - From Means to Ends: Strengthening Our Professional Voices Judy Bowers ala breve 41

Thursday, January 21, 2021 8:15-9:00 pm ABA Performance Enterprise High School Wind Ensemble, Sean Weiler, Conductor 8:15-9:00 pm AVA Performance Hewitt-Trussville Middle School Honors Choir, Ben Cook, Director Spain Park High School Treble Voices, Jim Schaeffer, Director 8:15-9:00 pm HED Recital 8:15-9:00 pm AOA Welcome and Virtual Performance 8:15-9:00 pm ELEM/GEN Interest Session Mini Lightning Round Elementary Music teachers and/ or other presenters not featured at the conference will present a “lightning round” style conference session featuring a topic of their choice. Allotted time per person will be 8-10 minutes. Can be prerecorded and submitted to Betty Wilson by January 1. Friday, January 22, 2021 5:00-5:45 pm ABA Interest Session How to Lose a Job in 10 Days: Things You Did Not Realize After College DaShaun McGee, Clinician As music educators, we are held to an even higher standard than regular classroom teachers. This session will discuss the things that can get an educator fired from their job. We will cover the known and unknown expectations from administrators, parents, students, and the community. 5:00-5:45 pm AOA Interest Session Fast & Efficient Score Study: How to Get the Most Bang for Your Buck Thomas Dickey, Clinician This session will present practical yet systematic, thorough, and accelerated score study and rehearsal preparation strategies. These strategies shall be quite valuable for both beginning and seasoned conductors, from the elementary orchestra level to those conducting collegiate, community, and professional ensembles. 5:00-5:45 pm HED & cNAfME Interest Session Success Against the Odds in Title I Schools Jack Eaddy & Marcus Morris, Clinicians Creating a successful band program in a Title I School takes perseverance and endurance. These programs often have limited resources, students from low socioeconomic backgrounds, a lack of parental and community support, and administration is often focused on different concerns. As directors, your programs can be highly successful despite these barriers. The facilitators will discuss how they have taken struggling programs in Title I Schools and revitalized them into successful programs including developing the individual student, building a program, using creative ideas for resources, and creating a framework of success. These programs may have the odds against them, but they can be transformed with hard work, a focused vision, love, and support of your students. Title I Schools need extra care, and it takes a special director to cultivate and grow these programs. 5:00-5:45 pm ELEM/GENERAL Networking Lounge 5:00-5:45 pm AVA Interest Session Virtual Choir Guide Tracks: Establishing Best Practices Through Field Research Matthew Myers, Clinician 42 October/November 2020

Friday, January 22, 2021 This session will provide educators glimpses into a variety of approaches to the virtual choir process, particularly on the front end. The session will offer sample instruction sheets to provide to students and will also explore quantitative and qualitative research about the best practices for creating guide tracks, including using individual part tracks, Finale tracks of all voice parts, piano accompaniment tracks, and existing choral performance tracks. Data from student recordings as well as their opinions will suggest the ideal methods for helping them to perform to the best of their ability. The session will also offer software recommendations and editing tips for teachers looking to undertake virtual projects. 6:00-6:45 pm ABA Business Meeting 6:00-6:45 pm AOA Networking Lounge AOA President Daniel Stevens, Host 6:00-6:45 pm AVA Networking Lounge 6:00-6:45 pm HED Networking Lounge 6:00-6:45 pm cNAfME Interest Session The Road to Recovery: Avoiding Band Director Burnout Marcus Morris, Clinician Are the numerous performances, grading, deadlines, budgets, paperwork, protocols, and many other stressors wearing you out? The many necessary parts of the job of a band director require a lot of each of us day in and day out. At the end of the day, what's left of you? This session will help you learn to achieve a better work/life balance while still maintaining a superior program. Avoid band director burnout by taking care of YOU. 6:00-6:45 pm ELEM/GEN Interest Session Stories That Sing David Row, Clinician Children’s books offer endless possibilities. Don’t just read the words on the page – make the story come to life through movement, improvisation, drama, poetry, and song. Reinforce the content you’re learning in your classroom even as you explore literacy concepts and connect with themes from history and culture. Come to this session to hear new stories and explore ideas to revitalize old favorites. 7:00-8:00 pm AMEA General Interest Session AMEA Awards Keynote - So... What Comes Next? Robert “Bob” Morrison This session will explore how music education moves beyond the year 2020 and how to plan for the new renaissance for music and arts education just ahead. 8:15-9:00 pm ABA Performance Hartselle High School Symphonic Band 8:15-9:00 pm Randall Key, Conductor 8:15-9:00 pm 8:15-9:00 pm AVA Performance All-State Show Choir HED Recital AOA Interest Session Sight-Reading: The Mystery Revealed John Sweat, Clinician ala breve 43

Friday January 22, 2021 I will share lessons I have learned about teaching my students to become effective sight readers as well as anecdotal evidence I have gained being a sight reading judge for Performance Evaluation. We will share our common stories of success and stress about our own teaching experiences with sight-reading. 8:15-9:00 pm ELEM/GEN Interest Session Getting to the Heart of Music: Using SEL in the Music Classroom Toni Garza, Clinician Every music teacher knows that music elicits emotion. When emotion is introduced, students are engaged. In this session, teachers will understand how to build an intentional community in the music classroom with social and emotional learning using the subject they already know and love: Music. After all, music is a universal language that connects us all. Saturday, January 23, 2021 8:00-9:45 am AOA Interest Session String Masterclass 9:00-9:45 am ABA Business Meeting 9:00-9:45 am cNAfME Exclusive Exhibit Time 9:00-9:45 am ELEM/GEN Interest Session Puppet Power David Row, Clinician A puppet might be the most versatile and underrated tool available to the general music teacher. More than just a visual aide, puppets can teach rules and procedures, act out a song's story, teach new concepts, reinforce behavioral expectations, lead vocal exploration, explore musical instruments, and so much more. Don't make the mistake of thinking a puppet is merely a toy or prop. Come to this session to learn about the hundreds of ways to use a puppet in your classroom. 9:00-9:45 am AVA Business Meeting 9:00-9:45 am HED Interest Session Beyond the Laws: Working with Students with Disabilities Ellary Draper, Clinician Given the events of the summer of 2020 along with the 30th anniversary of the Americans with Disabilities Act and the 45th anniversary of the Individuals with Disabilities Education Act, there is a sparked renewal in conversations of social justice issues specific to those with disabilities within our culture. It is important for music educators to understand the history of disability rights in the U.S., the implications for teaching, and current policy issues. This session will outline the events that lead to ADA and IDEA being passed, how to apply these laws in their teaching practices, to learn about what the laws do not currently cover, and what disability advocates are asking to be covered in future reauthorizations. 10:00-10:45 am ELEM/GEN Business Meeting 10:00-10:45 am ABA Networking Lounge 10:00-10:45 am AVA Networking Lounge 10:00-10:45 am AOA Exclusive Exhibit Time 10:00-10:45 am HED Networking Lounge 10:00-10:45 am cNAfME Networking Lounge 44 October/November 2020

11:00-11:45 am ABA Exclusive Exhibit Time Saturday, January 23, 2021 11:00-11:45 am AVA, HED & cNAfME Interest Session Cultural Appropriation in the Choral Classroom: Promoting a Culture of Equity and Respect Ian Loeppky, Clinician What is my role as a member of multiple and overlapping dominant cultures with respect to incorporating artifacts from other marginalized cultures in my music-making? This session focuses on promoting a healthy choir culture in which all music is respected, embraced, and appreciated. 11:00-11:45 am AOA Networking Lounge 11:00-11:45 am ELEM/GEN Networking Lounge 12:00-1:00 pm HED/Research Poster Session 12:00-1:00 pm Phi Beta Mu Meeting 1:00-1:45 pm ABA Interest Session Having a Comprehensive Pass-off System for Both Rural and Urban School Systems Matthew Chambless, Clinician We all want to help students on an individual level. A pass off system in the perfect way to do that! In this session we will explore the different objectives that can be achieved through a comprehensive pass off system, and the platforms available to facilitate your pass off system. Objectives and platforms that will be discussed are both for an urban school system setting and a rural school system setting. 1:00-1:45 pm AOA Interest Session Habits of a Successful Orchestra - The Secret is the Right Hand Christopher Selby, Clinician In this session we examine the central importance of tone and articulation in superior string performance, and we introduce rhythm teaching activities that address rhythmic bowing, rushing and dragging, how to decipher complex rhythms, and how to use sequential sight reading methods to teach students the literacy skills they need to independently sight read challenging string repertoire. 1:00-1:45 pm ELEM/GEN Interest Session Spinning Straw Into Gold: Grants, Crowdfunding and Teaching on a Budget David Row, Clinician Do you look into a music vendor catalog and see pipe dreams instead of possibilities? Funding for resources and experiences is out there if you know where to look. Participants will explore various grant opportunities and walk through a typical application process. We will discuss crowdsourced fundraising options, DonorsChoose.org, and talk about how to get the most out of your budget. 1:00-1:45 pm AVA Exclusive Exhibit Time 1:00-1:45 pm cNAfME Election 1:00-1:45 pm HED Interest Session It Only Takes One Synapse: Bridging the Gap and Meeting the Needs for Young Musicians Jason Sulliman, Clinician Scores of young music students grow up in low-income or geographically challenged locations which limits their access to high quality private instruction. If they had an opportunity to regularly hear characteristic tone quality, mature phrasing, etc. demonstrated by a professional musician, those budget and geographic limitations could evaporate. The solution is bridging the gap between competent specialists and young musicians to promote interaction and collaboration while minimizing cost. Fortunately there is a population of musical specialists that are eager to reach out. Young University faculty are constantly ala breve 45

Saturday, January 23, 2021 looking for ways to recruit for their program, provide service to their communities, and develop their online presence for professional marketing and branding. Like a synapse, all we need to do is bridge this gap! The Community Play Along Project is a free initiative that connects university music faculty with area schools to provide free instructional videos for students. A page on a website can be used to host videos that are tailor-made or broadly applicable to help young musicians develop a sense of characteristic tone, good practice technique, and phrase. Music faculty can create pages for any school, and students can bookmark the page for free and easy access. Faculty can focus on schools in their region where further collaboration can be encouraged. In this presentation, I will demonstrate the utility of the CPAP with some examples currently hosted on my own website and demonstrate how I use this method for recruitment as well as service to my community (locally, regionally, nationally). 2:30-3:15 pm AVA Interest Session Selecting Excellent Repertoire for the Emerging Ensemble Denise Eaton, Clinician Attendees will join veteran educator Denise Eaton in exploring the musical criteria essential for choosing excellent repertoire for the emerging choir appropriate for both MS and HS level. A complimentary music packet will be provided. 2:30-3:15 pm ABA Interest Session Say Yes to Surviving Years 1-5 Ryan Murrell, Sadie Wall, Patrick Darby, & Martez Tidwell, Clinicians Educators with a variety of backgrounds/years of experience/music disciplines share what has worked, what hasn’t worked, and best practices to navigate the first few years of teaching. This panel has been comprised of different levels, disciplines, and experiences in able to provide a more well-rounded session. We have a guest speaker: Mr. John Bradley, who not only was a music educator, but he was a school administrator. 2:30-3:15 pm ELEM/GEN Interest Session Going Deeper with Multicultural Music in the Elementary General Music Classroom: World Music Pedagogy 101 Julie Bannerman, Clinician World music ignites the imagination of children and music teachers alike. At the center of World Music Pedagogy is active participation and deep engagement with music and culture. In this session, participants will actively explore the World Music Pedagogy framework and experience its practical steps with examples that can be applied to general music classrooms. Participants will leave this session with resource ideas that will support integrating world music into their classrooms. 2:30-3:15 pm AOA Interest Sessoin Music Theory, History, and Creativity for the Successful String Orchestra Christopher Selby, Clinician This session promises to help string educators use their limited time to efficiently and dramatically improve student understanding of music literacy, creativity and history of string instruments and music—all of those hard to reach standards that will ultimately help music students become more well-rounded and better performers, creators and consumers of great music. 2:30-3:15 pm HED Exclusive Exhibit Time 2:30-3:15 pm cNAfME Interest Session They Don't Care How Much You Know Until They Know How Much You Care: Building Relationships Morgan Soja, Clinician John C. Maxwell once said, “Students don’t care how much you know until they know how much you care.” Beginning teachers integrating into new environments can sometimes feel overwhelmed with the intricacies of running a school music program. “I’m working so hard to plan engaging lessons, but am I reaching them? I feel like they’re not plugged in! Do I belong here?” are thoughts I hear from mentees frequently. In this session, we’ll examine how to build and maintain healthy relationships with students, parents, and community, and how those relationships can positively affect all the work you’re doing in the classroom. 46 October/November 2020

3:30-4:15 pm ABA Interest Session Saturday, January 23, 2021 YOU ARE WHAT YOU EAT! A look at a Balanced Band Diet Jack Eaddy, Clinician A clinic for new and veteran educators: this session seeks to provoke discussion and provide the necessary ingredients for being a great music educator, examine unique experiences of a comprehensive music program regardless of geography or socioeconomic status, share innovative techniques, and consider what’s needed to continue the process of developing yourself professionally as a teaching artist. Participants will leave with a “grocery list” of ideas for immediate implementation. 3:30-4:15 pm AOA Business Meeting 3:30-4:15 pm HED Interest Session Virtual Choir Victory: A Fool-Proof First Project Lauren Ramey, Clinician In this new virtual realm of ensemble teaching, many educators hope to provide their singers with a Virtual Choir experience. In this session, we will lay the foundation for success in creating a fool-proof first project in order to offer a unique chance for community and collaboration within your ensembles. From scores to guide tracks to beginning audio and video editing, this session will provide a step-by-step approach that has been utilized by many school, university, and community choirs. 3:30-4:15 pm cNAfME Interest Session From Day One: Easy Habits to Develop Expert Sight-Readers Jason Sulliman, Clinician Notated music is a written language. Cultivating fluency in any written language takes a small number of specific skills, yet the way we teach our beginning music students may overlook some crucial elements needed for long-term success. One of the many challenges with beginner repertoire is that it rarely showcases when these components are absent, which can leave us with success that isn’t scalable (our beginners can read beginner repertoire but struggle when the music gets harder). In this session, I compare conventional music pedagogy with research findings from linguistics and neuroscience to illustrate potential limitations to our methods. I will also offer basic suggestions on ways to slightly change our teaching strategies for better results. The differences are subtle, but significant. 3:30-4:15 pm ELEM/GEN Exclusive Exhibit Time 3:30-4:15 pm AVA Interest Session Teaching for Transfer: Making Every Moment Count Greg LeFils, Clinician Teaching for transfer employs the students in our ensembles as active participants in the learning process. Conductors are too often guilty of taking additional time in new repertoire to re-teach basic ensemble skills, knowledge, and musicianship. By teaching the students to transfer, the students become more responsible for the music-making which allows the conductor more time to explore the music deeper, yielding more musical performances. 4:30-5:30 pm ABA Happy Hour 4:30-5:30 pm AVA Meet and Greet 4:30-5:30 pm HED Cocktails with Colleagues 4:30-5:30 pm cNAfME Game Night 4:30-5:30 pm AOA Symphony Sidecar Social Hour 4:30-5:30 pm ELEM/GEN Happy Hour - BYOB: Bring Your Own Book Bring your favorite books and book lessons to class. These can be new publications or old favorites. Sing a song, bring a prop or share a slide to go with your book. Be prepared to share for 5 minutes or less. 6:00-8:00 pm ABA Performance All-State Jazz Bands ala breve 47

AMEA Division Events 2020 - 2021 Alabama Bandmasters Association District Event Location Date Deadline Statewide District 1 AMEA Montgomery, AL January 21-23, 2021 3/1/2021 3/1/2021 District 2 All State Solo Festival University of South Alabama April 14, 2021 District 3 08/17/2020 District 4 All State Festival Outlaw Convention Center April 15-17, 2021 10/23/2020 1/8/2021 District 5 Summer Convention Hampton Inn June 15-17, 2021 1/8/2021 District 6 1/22/2021 District 7 District Fall Meeting James Clemens HS August 24, 2020 1/22/2021 District 8 2/21/2020 48 Fall Solo and Ensemble Liberty MS November14,2020 3/20/2020 All State/ District HB Auditions Sparkman HS January 29 & 30, 2021 12/9/2019 1/22/2021 District Honor Band Grissom HS February 12 &13, 2021 1/22/2021 3/19/2021 MPA #1 James Clemens HS March 2-4, 2021 4/2/2021 MPA #2 Hartselle HS March 10-11, 2021 1/11/2021 2/2/2021 Solo and Ensemble #1 Priceville HS April 10, 2021 2/5/2021 4/12/2021 Solo and Ensemble #2 Meridianville MS April 24, 2021 1/15/2021 District Spring Meeting James Clemens HS May17,2021 2/5/2021 12/18/2020 District Fall Meeting Gadsden City HS Band room August 25, 2020 12/18/2020 4/2/2021 All State Auditions Albertville HS January 9, 2021 4/2/2021 District Honor Band Gadsden City HS February 5-6 2021 1/15/2021 2/5/2021 MPA Gadsden City HS Audiorium February 23-26, 2021 2/5/2021 Solo and Ensemble #1 Southside HS April 12, 2021 3/16/2021 4/8/2021 Solo and ensemble #2 Oxford HS April 26, 2021 10/30/2020 District Fall Meeting TBD TBD 1/8/2021 2/8/2021 All State Auditions Muscle Shoals HS January 30, 2021 2/12/2021 4/2/2021 District Honor Band Russellville HS February 12-13, 2021 10/16/2020 MPA UNA March 9-11, 2021 1/15/2021 2/5/2021 Solo and Ensemble Muscle Shoals HS May 1, 2021 2/19/2021 4/2/2021 District Fall Meeting Vestavia Hills HS September 14, 2020 1/15/2021 All State Auditions Hoover HS January 30, 2021 02/05/21 2/5/2021 District Honor Band Pelham HS February 26-27,2021 4/9/2021 MPA Week 1 Vestavia Hills HS March 9-11, 2021 4/9/2021 MPA Week 2 Thompson HS March 16-18, 2021 Solo and Ensemble #1 Thompson MS April 27, 2021 Solo and Ensemble #2 Bumpus MS May 1, 2021 District Spring Meeting Vestavia Hills HS May 18, 2020 District Fall Meeting Zoom Call August 31, 2020 All State/DHB Auditions Brookwood HS January 30, 2021 District Honor Band University of Alabama February 19-20, 2021 District Spring Meeting University of Alabama February 20, 2021 MPA University of Alabama March 3-5, 2021 Solo and Ensemble #1 Prattville JHS April 6, 2021 Solo and Ensemble #2 Tuscaloosa Co. HS April 29, 2021 District Fall Meeting TBA August 22, 2020 Fall Solo and Ensemble Auburn JHS November 21, 2020 All State Auditions Opelika HS January 30, 2021 District Honor Band Auburn HS February 19-20,2021 MPA Benjamin Russell HS March 1-4,2021 Solo and Ensemble Wetumpka MS April 24, 2021 District Spring Meeting TBA May 10, 2021 District Fall Meeting Davidson High School August 26, 2019 Fall Solo and Ensemble TBA November 14, 2020 All State Auditions Saraland HS January 30, 2021 MPA Baker HS March 9-12, 2021 District Honor Band Theodore High School March 18-20, 2021 Solo and Ensemble Spanish Fort MS May 1, 2021 District Spring Meeting Daphne High School May 24, 2021 District Fall Meeting TBA August 24, 2020 All State Auditions Coppinville JH Enterprise January 30, 2021 MPA Enterprise Performing Arts Center March 2-4, 2021 District Honor Band Enterprise HS March 5-6, 2021 District Spring Meeting Enterprise HS March 5, 2021 Solo and Ensemble #1 Daleville HS May 1, 2021 Solo and Ensemble #2 Greenville HS May 8, 2021 October/November 2020

Alabama Vocal Association Event Date Reg. Deadline Location Fall Workshop Thursday, September 10, 2020 Online ASSC Auditions Friday, October 16, 2020 Thursday, September 18, 2020 Online All State Auditions November 02-10, 2020 Thursday, September 17, 2020 Online AMEA January 21-23, 2021 See AMEA website Renaissance Montgomery ASSC January 21-23, 2021 Wednesday, December 02, 2020 Renaissance Montgomery All-State March 4-6, 2021 Wednesday, January 27, 2021 BJCC District Date OCS/OA/ME Location I Monday, November 16, 2020 Reg. Deadline Online II Tuesday, November 17, 2020 Thursday, October 01, 2020 Online III Friday, December 04, 2020 Thursday, October 01, 2020 Online IV Thursday, November 19, 2020 Thursday, October 01, 2020 Online V Tuesday, November 17, 2020 Thursday, October 01, 2020 Online VI Tuesday, November 17, 2020 Thursday, October 01, 2020 Online VII Thursday, October 29, 2020 Thursday, October 01, 2020 Online Thursday, October 01, 2020 District Date Location I Wednesday, February 24, 2021 Solo & Ensemble University of North Alabama (Tentative) II Fri-Sat, February 26-27, 2021 Reg. Deadline The University of Alabama (Tentative) III Saturday, February 20, 2021 Wednesday, January 27, 2021 Cahaba Heights UMC (Tentative) IV Thursday, February 18, 2021 Friday, January 29, 2021 Jacksonville State University (Tentative) V TBA (2/15-4/16) Friday, January 22, 2021 Hunstville FBC (Tentative) VI Tue-Wed, April 6-7, 2021 Thursday, January 21, 2021 Enterprise High School (Tentative) VII Tuesday, February 23, 2021 Wed-Thur, March 24-25, 2021 Springhill Baptist Church (Tentative) Tuesday, March 9, 2021 District Date Tuesday, January 26, 2021 Location I February 24 & 25 ,2021 UNA (Wed)/Decatur FBC (Thur) (Tentative) II Fri-Sat, February 26-27, 2021 SCPA The University of Alabama (Tentative) III Mon-Wed, March 29-31, 2021 Reg. Deadline Canterbury UMC (Tentative) IV Thursday, April 08, 2021 Wednesday, January 27, 2021 Gadsden City High School (Tentative) V Thur-Fri, February 25-26, 2021 Friday, January 29, 2021 Grissom High School (Tentative) VI Tue-Wed, April 6-7, 2021 Monday, March 01, 2021 Enterprise High School (Tentative) VII Thursday, March 18, 2021 Thursday, March 11, 2021 Springhill Baptist Church (Tentative) Thursday, January 28, 2021 Tuesday, March 9, 2021 Thursday, February 18, 2021 Elementary/General Division August 29, 2020 East Alabama General Music Workshop Online: https://forms.gle/aeP2DUM9XTHLR6Vz5 AMEA Choral Festival Cancelled/Postponed until October 2021 October 17, 2019 AMEA/AOSA Fall Workshop Online: More info to come January 21-23. 2021 AMEA Professional Development Conference Renaissance Montgomery Hotel and Spa Alabama Orchestra Association August 5, 2020 All-State Audition Materials Released January 21-23, 2021 AMEA Conference February 11-14, 2021 All-State Orchestra Festival October 9-18, 2020 All-State String Auditions (Multiple Locations) April 16-17, 2021 Orchestra Music Performance Assessment November 6-15, 2020 All-State Woodwind, Brass, and Percussion Auditions AMEA Collegiate Division TBA Collegiate Summit Online: October 25, 2020 1:30-4:30 pm January 21-23, 2021 AMEA Professional Development Conference Renaissance Montgomery and Convention Center ala breve 49

Focus on the Fundamentals: A Strategy for Bassoon Instruction during COVID-19 Teaching double reed instruments is a An inhale can happen either slowly or by Conor Bell challenging task in the best of quickly, depending on the character of the circumstances. Teaching double reeds in the music and how much time there is to just how open you’d have to be to sing that middle of a pandemic is enough to frustrate breathe. A good inhale has a sound with a note. Now play a low C with that position. even the most resolute of teachers. natural diminuendo (because the rate of air However, by shifting focus and zeroing in intake tapers as the lungs fill). A sudden Try singing a single pitch and gradually on a few key areas, the isolation of stop to the sound indicates that the breath change the vowel through uh, oh, ah, ay, ee. quarantine can be harnessed as a tool to spur stopped prematurely. Try it both ways to How does the timbre of your voice change? individual development. In this article, I will experience the sensation! Do the same with a single note on the discuss strategies for addressing instrument. Generally speaking, lower notes fundamentals of tone production, The Abdominal Support controls how on the instrument should be played with a developing musicality, and even reed quickly air moves into the instrument. lower syllable (uh or oh) and higher notes adjustment that can all be put into practice Often wind musicians sound good when should be played with a higher syllable (ay or while we remain socially distanced. they play loudly, and bad when they play ee). The higher the syllable, the higher your softly. That’s because playing loudly requires tongue is in your mouth, making the air flow While many of these ideas can be used a great quantity of air. Because this is being faster over it. effectively by any wind player, I will focus on pushed through a small aperture (like a my own instrument: the bassoon. In large bassoon reed) it automatically creates a fast Changing the vowel on a troublesome note ensembles, particularly bands, it is rather airstream. Fast air is what creates a good can help correct its pitch. A sharp note easy for the young bassoonist to escape quality sound. might be brought in tune with a lower notice. We’re generally quieter than the syllable, with the opposite being true for a other instruments that share our lines, often It is much harder to create a good sound flat note. only coming into the spotlight when our when you’re playing softly, with a smaller intonation strays too far from true. With the quantity of air. This is where the abs come The Embouchure affects how the reed pandemic limiting the ability of ensembles in. By engaging the abs, especially when vibrates. The lips should cushion the reed, to play together, now is an excellent playing softly, you can increase the air speed, adding supporting pressure to the reed from opportunity for individuals to focus on and improve the tone quality. all sides evenly. This can be imagined as fundamentals. If this happens, when the closing a drawstring bag around the reed. ensemble finally comes back together it is Try pushing in on your stomach with your stronger than ever before. right hand while you play the bassoon with It is a lot easier to apply pressure on the top your left, can you push against your hand and bottom of the embouchure than on the The Daily Routine- Developing Solid with your abs? Can you feel your obliques sides. Because of that, focus on the sides! Fundamentals and lower back muscles too? All three Bring in the corners like you’re saying “ooh.” muscle groups work to support the sound. Developing control over the airstream is the Ideally, all three of these groups cooperate Regarding the bassoon adage “drop your most vital part of playing a wind instrument. to create a “pillar of support,” engaging jaw,” forcing the jaw into an unnaturally low I divide the physical systems that shape the outward without becoming rigid. position can actually lead to some health airstream into four fundamental areas: complications (temporomandibular joint breathing, abdominal support, voicing, and The Voicing describes the position of the dysfunction, or TMJ). Instead, the jaw embouchure. The following is a brief throat and tongue. These affect how fast the should be held in a comfortably neutral explanation of these four fundamentals: air moves through them, similar to putting position with the teeth apart and the muscles your thumb over a garden hose to increase relaxed. If it is impossible to play down to The Breath consists of two parts: an the speed of the water. Here are some ways pitch from this position, the issue is more exhale, and an inhale. The exhale should to find the correct voicing for different likely related to the reed than the performer. empty all of the stale air from the lungs, and notes on the bassoon. simultaneously release tension throughout How far to roll your lips in or out depends the body. The inhale should completely fill Can you sing middle C above the staff ? Try on how big your lips are. Their placement the lungs and simultaneously engage the playing that note with the same voicing as on the reed will also vary depending on what abdominal muscles. when you sang it. This is a great way to find you’re playing (low notes respond easier with the right voicing for any note on the less reed in the mouth, and the high register bassoon, even notes outside of your vocal is more reliable from further on the reed). range! Pretend you can sing a low C, feel Be flexible! These are the four elements that I strive to 50 October/November 2020