TN Musician Vol. 71 No. 1

The Official Publication of the Tennessee Music Education Association
Approaching the
Sight-Reading
Component for
Festival/Contest
by Joe D. Moore
p. 19
When Helping Hurts:
Developmentally
Appropriate
Teacher Mentoring
by Michael A. Raiber
p. 26
Classroom
Classical
Guitar
by Matthew Hinsley
p.30
VOLUME 71, NO. 1

Tennessee Music Education Assocation | www.tnmea.org | 1

TENNESSEE MUSICIAN EDITORIAL STAFF
Michael W. Chester
Managing Editor and Advertising Manager
Justin T. Scott
Associate Editor
Anna Laura Williams
E-Newsletter Editor
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THE TENNESSEE MUSICIAN
The Official Publication of the Tennessee
Music Education Association
The Tennessee Music Education Association (TMEA)
was officially formed in 1945 as a voluntary, non-profit
organization representing all phases of music education at
all school levels. The mission of TMEA is to promote the
advancement of high quality music education for all. Active
TMEA membership is open to all persons currently teaching
music and others with a special interest or involvement
in music education. Collegiate membership and retired
memberships are available. Membership applications are
available on the TMEA web site, www.tnmea.org.
The Tennessee Musician was founded in 1948 with J.
Clark Rhodes appointed by the TMEA Board of Control as
inaugural editor. Tennessee Musician was preceded by an
earlier publication, Tennessee Music Editors’ Downbeat,
which was discontinued by the TMEA Board of Control at
the spring board meeting, held in Chattanooga, Tennessee
in 1948. Tennessee Musician is published by Slate Group –
Lubbock, Texas and is mailed to members four times each
year at an annual subscription rate of $6.00 (included in
dues). Non-member subscription rate (includes S&H): $30.00
per school year; single copies: $10.00 per issue
All editorial materials should be sent to: Michael Chester, Managing
Editor (615-873-0605) E-mail: editor@tnmea.org.
Submit materials by e-mail in Microsoft Word format.
Advertising: Information requests and ad orders should be
directed to: Michael Chester, Managing Editor (615-
873-0605) e-mail: editor@tnmea.org. All advertising
information is on the TMEA web site, www.tnmea.org.
Deadlines for advertisement orders and editorial materials:
Issue No. 1 – Deadline: September 15 (in home delivery
date October 15); Issue No. 2 – Deadline: November 15
(in home delivery date December 15); Issue No. 3 – Deadline:
February 15 (in home delivery date March 15); Issue
No. 4 – Deadline: April 15 (in home delivery date May 15)
Postmaster: Send address changes to: Tennessee Musician,
c/o National Association for Music Education
(NAfME), 1806 Robert Fulton Drive, Reston, VA
20191-4348.
TABLE OF CONTENTS | 2018 | VOLUME 71, NO. 1
Prelude - A Message from the Editor 6
Michael Chester
TMEA President’s Message 8
Lafe Cook.
TMEA Members in Washington D.C. 10
COLUMNS
TMEA State General Music Chair’s Message 12
Linzie Mullins
TMEA State Choral Chair’s Message 15
Reachel Hudgins
TMEA State Higher Education Chair’s Message 16
Barry Kraus, DMA.
TMEA State Collegiate NAfME Chair’s Message 18
David M. Royse, Ph.D
FEATURED ARTICLES
Approaching the Sight-Reading Component for Festival/Contest 21
Joe D. Moore
When Helping Hurts: Developmentally 28
Appropriate Teacher Mentoring
Michael A. Raiber
Classroom Classical Guitar 32
Matthew Hinsley
Tennessee Musician Advertiser Index 37
TMEA Back Then 38
Non-Profit 501(c)(3) Organization U.S. Postage Paid
at Lubbock, Texas. ISSN Number 0400-3332; EIN
number 20-3325550
Copyright © 2018 Tennessee Music Education
Association . Reproduction in any form is illegal
without the express permission of the editor.
2 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

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TMEA BOARD AND COUNCIL
NATIONAL EXECUTIVE BOARD
(NATIONAL ASSOCIATION
FOR MUSIC EDUCATION)
SOUTHERN DIVISION PRESIDENT
Dian Eddleman
deddleman@usjbruins.org
TMEA PUBLICATIONS EDITOR AND
ADVERTISING MANAGER:
Michael Chester
editor@tnmea.org
TMEA PUBLICATIONS ASSOCIATE EDITOR:
Justin Scott
ETGMEA PRESIDENT-ELECT
Amanda McMahan
amanda.mcmahan@knoxschools.org
ETVA PRESIDENT:
Stephanie Coker
scoker@acs.ac
TN ALL-STATE SSAA CHORALE CHAIR:
Kelly Davenport
davenportK@wcde.org
TN ALL-STATE TTBB CHORUS CHAIR:
Lauren Ramey
lauren.ramey@wcs.edu
TMEA OFFICERS
TMEA EXECUTIVE DIRECTOR:
Ron Meers
execdirector@tnmea.org.org
TMEA PRESIDENT
Lafe Cook
president@tnmea.org
TMEA PRESIDENT-ELECT:
Alexis Yatuzis-Derryberry
pres-elect@tnmea.org
TMEA IMMEDIATE PAST-PRESIDENT:
Johnathan Vest, Ed. D.
past-president@tnmea.org
justin.scott@tcsedu.net
TMEA COUNCIL
WTGMEA PRESIDENT:
Frances Miller
wtgmeamemphis@yahoo.com
WTGMEA PRESIDENT-ELECT:
Ray Mullins
wtgmeamemphis@yahoo.com
WTVMEA PRESIDENT:
Emily Taylor
etaylor@colliervilleschools.org
WTVMEA PRESIDENT-ELECT:
Sharon Morris
ETVA PRESIDENT-ELECT:
Deborah Gouge
debgouge@charter.net
ETSBOA PRESIDENT:
Alan Hunt
ahunt@bradleyschools.org
ETSBOA PRESIDENT-ELECT:
Donald Benton
dbenton@bradleyschools.org
CONFERENCE MANAGEMENT TEAM
TMEA CONFERENCE CO-CHAIR:
Brad Turner
brad.turner@acsk-12.org
TN ALL-STATE 9TH - 10TH GRADE STRING ORCHES-
TRA CHAIR:
Nichole Pitts
pitts_stephanie@hcde.org
TN ALL-STATE 11TH - 12TH GRADE SYMPHONIC OR-
CHESTRA CHAIR:
Gary Wilkes
gwilkes428@gmail.com
TN ALL-STATE 9TH - 10TH GRADE CONCERT BAND
CHAIR:
Carter Noblin
noblinc@wcschools.com
TN ALL-STATE 11TH - 12TH GRADE CONCERT BAND
CHAIR:
BOARD OF DIRECTORS
TMEA STATE GENERAL MUSIC CHAIR:
Linzie Mullins
linziemullins9@gmail.com
TMEA STATE CHORAL CHAIR:
Reachel Hudgins
choralchair@tnmea.org
TMEA STATE ORCHESTRA CHAIR:
Anna Maria Miller
orchestrachair@tnmea.org
TMEA STATE BAND CHAIR:
Megan Christian
megan.christian@knoxschools.org
TMEA STATE HIGHER EDUCATION CHAIR:
Barry Kraus, DMA
higheredchair@tnmea.org
TMEA STATE COLLEGIATE NAFME CHAIR:
David Royse, Ph. D.
droyse@utk.edu
TMEA SOCIETY FOR MUSIC TEACHER EDUCATION/
RESEARCH CHAIR:
Jamilia McWhirter, Ph. D.
jamila.mcwhirter@mtsu.edu
TMEA STATE EDUCATIONAL TECHNOLOGY CHAIR:
John Womack
webmaster@tnmea.org
TMEA ADVOCACY AND GOVERNMENT RELATIONS CHAIR:
Christopher Dye, Ed. D.
christopher.dye@mtsu.edu
smorris@lced.net
WTSBOA PRESIDENT:
Ollie Liddell
ollie_liddell@hotmail.com
WTSBOA PRESIDENT-ELECT:
Jennifer Cupples
jennifer.cupples@chestercountyschools.org
MTGMEA PRESIDENT:
Rachel Lapinski
lapinskir@rcschools.net
MTGMEA PRESIDENT-ELECT:
Corynn York
corynn.york@cityschools.net
MTVA PRESIDENT:
Lia Holland
liaholland@mtcscougars.org
MTVA PRESIDENT-ELECT:
Gerald Patton
pattong@rcschools.net
MTSBOA PRESIDENT:
Debbie Burton
president@mtsboa.org
MTSBOA PRESIDENT-ELECT:
Justin Scott
justin.scott@tcsedu.net
ETGMEA PRESIDENT:
Marcus Smith
marcus.smith@knoxschools.org
TMEA CO-CONFERENCE CHAIR:
Paul Waters
paulwaters.tmea@gmail.com
TMEA CONFERENCE EXHIBITS CHAIR:
Jo Ann Hood
jhood10105@aol.com
TMEA CONFERENCE REGISTRATION CHAIR:
Mark Garey
mgarey86@comcast.net
TMEA CONFERENCE PERFORMANCE GROUP CHAIR:
John Mears
mearsj@rcschools.net
ALL-STATE MANAGEMENT TEAM
TN ALL-STATE CHORAL GENERAL CHAIR:
Amanda Ragan
aragan@ortn.edu
TN ALL-STATE INSTRUMENTAL GENERAL CHAIR:
Todd Shipley
todd.shipley@mnps.org
ENSEMBLE CHAIRS
TREBLE HONOR CHOIR CHAIR:
Tiffany Barton
tntreblechoir@gmail.com
TN ALL-STATE SATB CHOIR CHAIR:
Amanda Short
amandalovellshort@gmail.com
J.R. Baker
john.baker@rcstn.net
TN ALL-STATE JAZZ BAND CHAIR:
Cord Martin
corderyl.martin@gmail.com
PROJECT CHAIRS
TMEA JAZZ EDUCATION POLICY CHAIR:
Richard Ripani, Ph. D.
richard.ripani@mnps.org
TMEA MUSIC MERCHANTS INDUSTRY CHAIR:
Rick DeJonge
rick.dejonge@khsmusic.com
TMEA WEBMASTER:
John Womack
webmaster@tnmea.org
TMEA TRI-M CHAIR:
Anna Laura Williams
anna.laura.williams@outlook.com
TMEA MUSIC IN OUR SCHOOLS MONTH CHAIR:
Tiffany Barton
tntreblechoir@gmail.com
TMEA RETIRED TEACHERS CHAIR:
Bobby Jean Frost
bjfrost@aol.com
4 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

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PRELUDE - A MESSAGE FROM THE EDITOR
Michael Chester // Stewarts Creek High School
For the last seventy-one years, the Tennessee
Musician has served as a chronicle of the
evolution of music education in Tennessee.
Seventy-one marks the current volume of the Tennessee
Musician. It might seem hard to imagine but for seventyone
years the Tennessee Musician has been a constant of
TMEA members since 1948. While most might see this as
just another magazine that gets delivered, put aside, glanced
at and then quickly discarded, the importance of this quarterly
publication should not be underestimated. For the last seventyone
years, the Tennessee Musician has served as a chronicle of
the evolution of music education in Tennessee. What started as a
means of keeping members of TMEA apprised of events and news
affecting music educators has become a record of our progress
and of our failings as music educators. The Tennessee Musician
has published the messages of thirty-six presidents and will
now add to its annals the messages of our thirty-seventh TMEA
President, Lafe Cook.
One of the more enjoyable aspects of the editorship of this
publication is combing through previous volumes and issues.
Having always enjoyed history, I thought it important that as
we move forward as an association, that we not forget where we
came from and how we got here. Thus, the column “TMEA Back
Then” was born. I’ve heard from several members of TMEA that
find it enjoyable to read and for some it is their favorite part of the
publication. We are now in an age where the mantle of leadership
is beginning to change generations. Having been asked to serve by
the TMEA Board as the sixteenth editor, I realized that it was not
something to be taken lightly. While most others might assume that
a publication like the Tennessee Musician is outdated, obsolete,
and should be formatted as all-digital only, or in some cases,
eliminated altogether, I vehemently disagree. In fact, one of our
goals was to find a way to bridge the communication gap between
publication cycles and information that needed to go out to the
membership in a timelier manner and yet expand the offerings of
the Tennessee Musician with more articles that involve academic
research and pedagogic insights. Our TMEA E-Newsletter,
now under the direction of Anna Laura Williams, gives our
membership the need to know information about happenings
across the state each month. In addition, columns such as “By
the Numbers/Verbatim” which were introduced by contributing
editor Matthew Clark, brought us interesting data-at-a-glance
on topics regarding music education and also some inspiring
quotes to share with parents, students, and administrators. As we
continue to advance the cause of music education in Tennessee, it
is so important that we all become informed and knowledgeable.
The TMEA leadership is making some very valuable and key
connections with our own state legislators. In a time like this,
it is important for us to decide if we as members of TMEA will
join together to determine the best outcomes for our students
and for us as a music education profession. This goes beyond
mere grassroots activism or social media campaigning. It’s about
smart, well-informed, and objective rhetoric that allows us to get
the message across to all stakeholders. Now, more than ever, is
when we need advocacy on a state-wide level.
While it is true that our attempts at state-wide advocacy are
still in their early stages, we as an informed membership need
to realize that the job of advocacy is not up to somebody else. We
need to change the mentality of music education advocacy as
being somebody else’s job. It takes all of us to cultivate and nurture
strong relationships with members of our administration and
our local school boards. It takes all of us to inform our local civic
electorate how what we do in our classroom contributes to making
better citizens. We must not be afraid to create relationships with
our elected officials. We all know the most powerful tool we have
is the right to vote.
It for those very reasons that I want to continue to provide
informative articles and columns designed to engage and
empower TMEA members so that all of us, when the time comes,
can join the cause of statewide advocacy.
Seventy-one years is a longtime for most periodicals. While
we continue to honor the traditions of this noble publication’s
past, we will also look for ways in which to serve the needs of its
members, in a professional, courteous, and informative approach
as we continue to raise the bar moving forward.
For those and for several other reasons, I stand committed
to continuing to make the Tennessee Musician the very best
quarterly publication for Tennessee’s music educators.
Michael Chester
Publications Editor
Tennessee Music Education Association
6 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

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TMEA PRESIDENT’S MESSAGE
Lafe Cook || Dobyns-Bennett High School
The Future of Music Education Advocacy . . .
According to my marching band
parent crew, there are no marching
band props in heaven. They
even made matching hats with
this very slogan! If you teach high
school marching band, it sometimes feels
like props are a must; it’s written in a book
somewhere that it’s basically required.
Worrying about props is certainly a distraction
from our real job, teaching music.
For those of you who teach competitive
marching band, you probably understand
these feelings. For those of you who don’t
teach competitive marching band, congrats
on adding a couple of years back to
your life!
But those band parents who commit to
helping build and move marching band
props can tell you a lot about the impact
your music program has on your school
community and the impact you are have
on the kids in your classroom.
YOU ARE MORE THAN A MUSIC
TEACHER, YOU ARE A LEADER
AND ROLE MODEL FOR YOUR
KIDS AND THEIR FAMILIES.
It is humbling to represent these kind
of teachers, Tennessee’s music educators.
It is also a privilege to work with other
leaders in music education from across
Tennessee. The officers of our state’s regional
music education associations are
amazing! In addition to carving out time
for family and friends, summer professional
development experiences and summer
rehearsals, your leaders in the music education
profession from across Tennessee
have also come together multiple times to
discuss the future of music education in
Tennessee.
It is inspirational to witness the amount
of time music teachers will give in their
precious “off-time” to discuss ideas and
initiatives that positively impact their students.
These summer conversations centered
around the question what more can
TMEA do for its members and how do we
make membership more attractive to those
teachers that currently are not joining.
AS WITH ANY ORGANIZATION,
IT IS TMEA’S RESPONSIBILITY
TO PROVIDE VALUE TO ITS
MEMBERSHIP.
I believe anyone who has had students
make an All-State ensemble or selected
for the Tennessee Treble Honor Choir understands
what those TMEA experiences
mean for students. Hopefully those music
teachers who have attended the TMEA
Professional Development Conference
also have a positive view of what TMEA
strives to provide teachers, with regards to
continued training and educational inspiration.
However, we as TMEA leaders and members
need to do a better job of communicating
the value and importance of membership
to those music teachers in Tennessee
that are not joining our organization, either
because it is cost prohibitive for them to do
so or because they are not aware of the value
in membership. The state of Tennessee
has roughly 2000 music teachers. TMEA
membership is about 1100. That means
about half of Tennessee’s music educators
are joining our professional association, a
statistic that I was initially pleased with,
until you consider who those 1100 music
teachers are. The 1100 music teachers with
TMEA memberships are almost without
exception, secondary instrumental and
vocal program directors for whom TMEA
membership is mandatory if their students
are going to be eligible for region or state
honors ensembles.
We must find a way to make TMEA
membership more appealing to ALL of our
state’s music teachers!
In recent years it has become much
easier to answer the question “what does
TMEA membership do for me?” Perhaps
the most tangible new benefit of membership
is that TMEA, in cooperation with
regional associations, pays for a lobbyist in
Nashville to monitor education legislation
that might impact music education class
time. We are entering our third year with
this lobbyist and this legislative monitoring
has already had a positive impact. We
became proactive by communicating with
legislators regarding a potential change
in the proposed 2017 Tennessee’s history
course requirement. This change would
have had huge repercussions on music
classroom time.
The retaining of a lobbyist is an advo-
8 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

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cacy effort that represents real value to
music teachers. When combined with the
opportunity for professional development
at our conference and student access to
TMEA sponsored events membership is
clearly worth every penny of TMEA’s low
$35.00 dues!
But the reality is that a Tennessee music
teacher cannot join TMEA without also
joining the National Association for Music
Education. We often hear from Tennessee
music teachers who teach in urban or rural
areas of our state that the total combined
dues of TMEA and NAfME (a minimum
amount $148 depending on your regional
association dues) is a stretch for them or
their school districts. TMEA leadership
completely understands this and is working
to find ways to reduce these amounts.
At a meeting last month in Nashville of
state leaders of the National Association
for Music Education’s Southern Division
there was much discussion with NAfME
staff and National Executive Board members
about ways in which state affiliate
music education associations might be
able to reduce the dues amount we are
required to send to NAfME. Your TMEA
leaders were not the only voices speaking
up about the challenges the current dues
structure creates.
There is no denying that NAfME is an
important voice for music education at
the federal level. But it is also true that
the ESSA Legislation shifts power from
the federal level to the state level. TMEA’s
current financial realities do not allow us
to advocate for our school music programs
at the level that would be possible if we had
more dues revenue to keep in state.
THE FUTURE OF MUSIC
EDUCATION ADVOCACY
IN TENNESSEE IS AT THE
GRASSROOTS LEVEL!
I encourage you and your music teacher
colleagues in your school district or region
to have conversations about what more
TMEA could do for you and your students.
Let your regional association officers or any
member of the TMEA board know about
your ideas. I also encourage you to find
those teachers in your area who are not
TMEA members and tell them about the
value of membership.
As we continue to look ahead at providing
the very best membership experience in
TMEA, take some time to reflect upon the
wonderful work that is taking place in your
classroom or rehearsal hall right now. It’s
the work that you are doing on behalf of
your students. Try to never lose sight of the
passion and joy of teaching music. The November
and December holidays are right
around the corner, and undoubtedly with
that comes the many hours of preparation
for programs and performances. We all
know how this time of the year can drain
both our energy and resolve. Though at
times it may not always seem as such, just
know that the positive impact of teaching
music can change a child’s life.
-Lafe Cook
President
Tennessee Music Education Association
Tennessee Music Education Assocation | www.tnmea.org | 9

TMEA MEMBERS IN WASHINGTON D.C.
ON JUNE 28TH, of this year members of the Tennessee Music
Education Association’s Board of Directors convened with the
leadership delegations of other federated state music education
associations in Washington D.C. for the National Association
for Music Education’s (NAfME) National Leadership Assembly.
In addition to several meetings that were focused on issues
surrounding the current climate of music education in America’s
schools, the Tennessee delegation participated in NAfME’s annual
Hill Day. Meetings with the Tennessee’s United States House of
Representatives and Senate staff focused on specific initiatives
for music education, including the Guarantee Access to Arts and
Music Education (GAAME) Act (H.R. 6137) which encouraged
school districts to use their Title I-A funds (school-wide and
targeted assistance grants) to help provide music education for
disadvantaged students. Additional topics of discussion centered
on requests of introducing a companion bill of the GAAME Act into
the U.S. Senate and fully funding the Every Student Succeeds Act’s
(ESSA) authorized levels for well-rounded education programs,
including:
» Title IV-A, $1.6 billion
» Title I-A, $15.46 billion
» Title II-A, $2.3 billion
The TMEA delegation were joined by five collegiate members who
were identified as emerging leaders and who were selected by their
respective colleges and universities to attend this event.
TMEA President-Elect Alexis Yatuzis-Derryberry and TMEA Editor
Michael Chester at the NAfME National Leadership Assembly.
TMEA President Lafe Cook meets with staff members
from Diane Black’s (TN-6th) office.
TMEA Leadership Delegation meets at
Capitol Hill in Washington D.C.
L to R, Ebonee Woodland, Mackenzie
Kelly, TMEA Immediate Past-President
Jonathan Vest, Andrew Layne, TMEA
President Lafe Cook, Reginald Coleman,
TMEA Advocacy and Government
Relations Chair Dr. Christopher Dye,
TMEA President-Elect Alexis Yatuzis-
Derryberry, TMEA Executive Director
Ron Meers, and Lauren Mills.
TMEA delagates meet with Congressman
David Kustoff (TN-8th)
10 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

ETSU MUSIC DAYS:
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Friday, November 16, 2018
Tuesday, February 19, 2019
Friday, March 22, 2019
Saturday, March 23 2019
(Vocal only)
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www.etsu.edu/music
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Tennessee Music Education Assocation | www.tnmea.org | 11

TMEA STATE GENERAL MUSIC CHAIR’S MESSAGE
Linzie Mullins // Snowden School
PLEASE TRY TO COME TO THE
CONFERENCE THIS YEAR! WE
HAVE AMAZING CLINICIANS AND
AMAZING SESSION TOPICS...
WOW, ANOTHER SCHOOL YEAR IS OFF AND RUNNING,
which means another conference is being planned.
Please try to come to the conference this year! We have
amazing clinicians and amazing session topics, and I
cannot wait to fill up the rooms full of Tennessee’s best
music teachers. Our clinicians include: Artie Almeida,
Cheryl Lavender, Richard Lawton, and our TN Treble Choir clinician
is Maribeth Yoder-White. And, that’s not all! Our full list of clinicians
and sessions will be out soon, so keep an eye out.
I always try to share little insights in my columns, so here it is! In the
back of Artie Almeida’s Mallet Madness book, she shares ideas, and one
in particular has changed my classroom exponentially. My co-teacher
brought it up to me, and I am so glad she did. Every year I love walking
into my classroom with my xylophones in pitch order, metals on one
side, woods on the other, and the drums against another wall. Organization
is key, right? Well, wrong! This year we have our instruments set up
in four rows with our drums, xylophones, and metallophones all mixed
up. Basses not even close to each other, drums in between two xylophones,
etc. This way, when my students get to the instrumentarium,
they get a new instrument just about every time. And, we rotate one
instrument to the left or right, depending on which row they are in (we
have tape arrows on the floor for direction), they get to play all sizes and
pitches in just one class period. Why are your instruments set up a particular
way? Are all of your students getting the same opportunities? I
know personally that I did not have a way to keep up with which children
played which instrument, and my students did not play drums
near as often as they do now. We teach up to 60 children at one time,
and they are all extremely engaged and having a good time, ready to rotate
to the next instrument. No more students upset about which instrument
they were assigned, and no more excuses for not having
enough instruments for every student. This has been a life saver, and
classroom management hasn’t been easier. Try it out and let me know
how it goes! See you at the conference!
An educational festival for
elementary, middle, and
high school students in band,
choir, and orchestra
2019:
April 12
April 26
May 3
2020:
April 3
April 7
April 24
www.SMMFestival.com
or call:1-855-766-3008
12 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

Some are born with
in their souls
If authenticity had a
soul,
you would find it
in Memphis.
Creativity
flows through our veins.
This is the kind of city and
university where original
people are elevating the art
of music in unforgettable
ways. If you were born
with music in your blood,
you belong at the UofM.
DEGREES OFFERED
B.M., M.M., D.M.A., Ph.D.
AUDITION DATES
Dec. 1, 2018
Feb. 2, 2019
Feb. 16, 2019
Feb. 23, 2019
memphis.edu/music
901.678.3766

LEARN, PERFORM, PERFECT
“The Maryville College music
program has proven to be a
superb foundation and
place of growth for
students who wish to
become better musicians.”
ROBBY CLEMENS ’20
Maryville, Tenn.
Recipient of the
Presidential Scholarship
and Choral Award
Located in the new $47-million Clayton Center for the Arts, the
Maryville College Music Department offers a comprehensive,
NASM-accredited music curriculum within the college’s
acclaimed liberal arts experience. Because of its size,
Maryville College provides students with nearly endless
opportunities to perform — in choirs, ensembles,
bands, orchestras, musicals and opera scenes.
Degree opportunities:
B.A. in Music
| B.M. in Music Education
B.M. in Vocal Performance
B.M. in Music Theory/Composition
Music scholarships are available,
and worth up to full tuition.
Contact
Jordan McCullough
at 865.981.8092
for details.
MARYVILLECOLLEGE.EDU
502 E. LAMAR ALEXANDER PKWY., MARYVILLE TENNESSEE 37804

TMEA STATE CHORAL CHAIR’S MESSAGE
Reachel Hudgins || Dyer County High School
I KNOW THAT
WITH THESE
CHANGES, OUR
STUDENTS WILL
BE THOROUGHLY
PREPARED
FOR ALL STATE
PERFORMANCES
WITH
SIGNIFICANTLY
LESS STRESS.
Hudgins and I am your new State
Choral Chair under the leadership
of TMEA President Lafe Cook. It
is my privilege and honor to serve
HELLO EVERYONE, I am Reachel
the students and teachers of Tennessee
in this capacity. I grew up in Dyer
County in West Tennessee and I am proud
to teach choir at my alma mater, Dyer County
High School, as well as Northview Middle
School, both in Newbern, Tennessee.
I hope that everyone had a restful summer
and that you have all had a great start
to your school year. I know that it is going to
be a very busy year and like me, you are all in
preparation for auditions for your regional
honor choirs. It is my sincere hope that your
auditions run smoothly and your regional
performances are a success.
At our vocal caucus in April, we discussed
a couple of important topics. Firstly,
we discussed extending the deadline for 2nd
Tier Testing for our all-state vocal students.
The deadline for testing has been extended
to March 1st so that students will have
more time to learn the advanced repertoire.
Also, our fantastic All-State General Choral
Chair, Amanda Ragan, has been hard at work
making sure that repertoire and part tracks
are available to you sooner. I know that with
these changes, our students will be thoroughly
prepared for all-state performances
with significantly less stress.
Freshman eligibility for all state was another
important subject discussed during
our April caucus. Unfortunately, we were
not able to come to a consensus and did not
take an official vote. Next April, during the
vocal caucus, we will have a final vote. In
the meantime, the board is working to get
input from as many directors as possible
on this issue. Please be on the lookout for a
new survey dealing with freshman eligibility
and what that might look like at the all
state level. I encourage you to respond and
to do so thoughtfully. If you have any comments
or suggestions, please be kind in your
responses.
Lastly, I’d like to discuss the new National
Core Arts Standards. Recently, the
new National Standards were linked with
our Tennessee State Standards for all Fine
Arts areas. You can access the original core
standards at www.nationalartsstandards.
org. On the Tennessee Department of Education
website, the four core standards are
discussed and linked by grade level. I would
encourage each of you to go to https://
www.tn.gov/education/instruction/academic-standards/arts-education.html
and
download the new standards. There are also
links to resources for all fine arts areas.
In closing, I am excited to serve as your
State Choral Chair and I am looking forward
to meeting as many of you as possible over
the next couple of years. If you have any
questions for me or if you have anything
you’d like me to share with our colleagues
across the state, please don’t hesitate to contact
me at choralchair@tnmea.org. I hope
you all have a wonderful school year and I
can’t wait to hear from you!
Tennessee Music Education Assocation | www.tnmea.org | 15

TMEA STATE HIGHER EDUCATION CHAIR’S MESSAGE
Barry Kraus, DMA || Belmont University
Directors should select one student from each section
in the ensemble rather than multiple students from
each section. The band will consist of approximately
100 students who will receive a participant badge and
free admission to the convention.
2019
Intercollegiate
Band
Information
The fourth TMEA All-Collegiate Band
will take place at the 2019 Conference
in Nashville. Collegiate wind, brass,
and percussion students (music and
non-music majors) are eligible to participate.
The director, who must be a member of
NAFME, may nominate up to 10 students for
the band. Students should be the strongest
musicians in the program, and nominations
should reflect a complete instrumentation.
Ideally, directors should select one student
from each section in the ensemble rather
than multiple students from each section.
The band will consist of approximately
100 students who will receive a participant
badge and free admission to the convention.
Directors will receive notification of acceptances
(based upon instrumentation and
experience), and the cost per student will be
$50. Participation fees may be paid by check
individually by the students or collectively
by the school. If students are paying individually,
all checks for the school should be
sent at the same time to the organizer (Barry
Kraus). Please note that not all students may
be accepted; however, additional students
may be requested from schools depending
upon instrumentation needs. Directors
or applied teachers from participating
schools should plan to serve as judges for the
part-placement auditions prior to the first
rehearsal. Students must provide their own
transportation and lodging. TMEA cannot
cover the cost of housing and travel; however,
housing options in Nashville will be provided
upon notification of acceptance.
DEADLINES:
• December 15 – deadline for online
nominations
• January 11 – acceptance notifications
sent to directors
• February 1 – payment deadline ($50
per student)
For more information about the all-collegiate
band, please visit the TNMEA web page
and find the Higher Education page under
the ‘Blog’ menu.
CYNTHIA JOHNSTON TURNER is in demand as a
conductor, conducting and ensemble clinician,
and speaker in the United States, Australia,
Latin America, Europe, and Canada.
Before her appointment at the Hodgson
School at the University of Georgia, Cynthia
was Director of Wind Ensembles at Cornell
University. Earlier in her career Cynthia
2019 TMEA Intercollegiate Band Conductor,
Cynthia Johnston Turner.
was a high school music educator, taught
middle school beginning instrumental music
in Toronto and choral music in Switzerland.
She currently serves as a conductor
with the Syracuse Society of New Music, the
Austrian Festival Orchestra, and the Paris
Lodron Ensemble in Salzburg.
Among other recent engagements, Cynthia
has guest conducted the National Youth
Wind Ensemble of Great Britain, the Syracuse
Symphony (“Symphoria”), the National
Youth Band of Canada, Concordia Santa
Fe, the Ithaca College Wind Ensemble, the
Eastman Wind Ensemble, the Latin American
Honor Band, the National Band of Costa
Rica, the National Orchestra of Heredia,
and numerous state honor bands. Cynthia
has been invited to present her research
with teaching and technology, innovative
rehearsal techniques, and service-learning
and music performance at numerous conferences
nationally and internationally. She is
published in such journals as Music Educators
Journal, Interdisciplinary Humanities,
International Journal of the Humanities,
Journal of the World Association of Bands
and Ensembles, Fanfare Magazine, and Canadian
Winds, and has recorded CDs with
the Innova and Albany labels.
Cynthia serves as a board member with
WASBE, and is an active member of CDBNA,
Conductor’s Guild, College Music Society,
Humanities Education and Research Association,
the National Association for Music
Education, and National Band Association.
As Director of Bands and Professor of Music
at the Hodgson School, Cynthia conducts
the Wind Ensemble, teaches conducting,
leads the MM and DMA programs in conducting,
and oversees the entire Hodgson
band program.
16 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

TMEA STATE COLLEGIATE NAfME CHAIR’S MESSAGE
David M. Royse, Ph. D. || University of Tennessee at Knoxville
A professional resume is a summary of
the academic qualifications, professional
experiences, accomplishments, and
activities of a person. But it’s more than the words on paper
that matter. The content of the resume informs the reader (or
hiring principal) about the commitment level of this person.
I
AM PLEASED TO BEGIN A TWO-YEAR
term as Tennessee C-NAfME State
Advisor. We have many exciting activities
planned for the year. These began
with the annual C-NAfME Fall Kickoff
on Saturday, September 29, 2018,
on the campus of the University of Tennessee,
Knoxville. Our other major gathering
for the year will be at the TMEA In-Service
Conference in Nashville during April.
Both of these events offer music education
majors state-wide the opportunity for professional
growth by attending clinics and
workshops, interacting with master music
teachers, networking with their peers, and
serving the profession.
As advisors we often state that being a
member of C-NAfME is important for students
to “build their resumes.” But what
does that really mean? A professional resume
is a summary of the academic qualifications,
professional experiences, accomplishments,
and activities of a person.
But it’s more than the words on paper that
matter. The content of the resume informs
the reader (or hiring principal) about the
commitment level of this person. I’m reminded
of the saying, the only predictor of
future performance is past performance.
If it’s clear that a person applying for a
school music position has only done the
minimum in preparation for a professional
teaching career, who wants to hire that
person when other applicants have obviously
done more? I’ve asked my own students
many times, “Do you want an 80%
teacher for your child? That’s passing isn’t
it?” I don’t. I want a 110% person, someone
who will go the extra mile to ensure
student success. Someone who is always
looking for new and better ways to reach
young people. Someone who stays current
in the field, and who is eager to learn and
experience innovative teaching approaches.
Someone who seeks out leadership opportunities
to serve and develop organizational
skills. Someone who is curious and
questioning, seeking answers to complex,
philosophical and pedagogical challenges.
Someone who understands that mentors
abound in the profession and that they are
there as a resource for those who will seek
them out. It is through these experiences
that a resume is built and glowing recommendations
follow. Active participation in
C-NAfME is one pathway to reach such
success.
All of us who mentor pre-service teachers
are faced with the question of how this
can be done affordably? First of all, none
of us can do everything and attend everything.
It’s not humanly possible, and a reasonable
balance between one’s personal
and professional lives must be found to
avoid burnout. Still, professional priorities
must be set and one of those should be
membership in professional associations
like C-NAfME. That’s just the cost of doing
business. And it will never be cheaper
than while a student, to be a member and
attend professional conferences. Many of
my finest students who have gone on to
amazing careers were some of the savviest,
penny-pinching travelers I ever saw.
They had an incredibly mature focus for
what they wanted to achieve and experience,
and they used every available resource
to make it happen. They carpooled,
stayed with family, used church networking
for housing, and so forth. As I reflect on
those exceptional young people, I believe
they all shared common characteristics.
They were passionate about being music
teachers, were committed to their art, and
were willing to pay the price to make their
dreams come true. C-NAfME can help.
Feel free to contact me if I may of service
in any way at droyse@utk.edu.
18 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

TMEA SOCIETY FOR MUSIC TEACHER EDUCATION/
RESEARCH CHAIR’S MESSAGE
Jamila L. McWhirter, Ph. D. || Middle Tennessee State University
The TNSMTE Symposium
2018 was held on
September 22, 2018 on
the campus of MTSU in
the Wright Music Building.
Dr. Cynthia Taggart, Professor
and Coordinator of Music
Education at Michigan State
University, delivered the keynote
address and helped facilitate
discussion through the
course of the day. She presented
information on the Michigan
Arts Education Instruction
and Assessment Program
Dr. Cynthia Taggart at the TNSMTE Symposium at Middle (MAIA), with a special focus
Tennessee State University.
on the assessment portion. A
thirty minute discussion of
the program followed. Several participants met with Dr. Taggart over lunch at The
Boulevard before the beginning of the afternoon session. The afternoon sessions focused
on how MAIA might be used as a resource for K-12 music educators in the state
of Tennessee. The day concluded with the formation of a 5 person committee who will
examine where MAIA may be aligned with the newly implemented Tennessee State
Music Education Standards. Once this work is completed, links to MAIA and the
TDOE websites with suggested assessments will be placed on the SMTE/Research
page on the TMEA website. If this work is completed by the TMEA Professional Development
Conference, then a session on how K-12 music educators may implement
these assessments with the Tennessee State Music Education Standards will be presented.
Future goals include developing additional assessments for identified gaps
between MAIA and the Tennessee State Music Education Standards.
TMEA 2019 Research/Best Practice Call for Proposals
The TMEA 2019 Call for Research/Best Practice Poster Session and Presentation
Sessions is now open. Visit the TMEA website, go to the Conference Tab, then select
TMEA Research/SMTE. TMEA will sponsor a research and best practice poster session
plus three research/best practice presentation sessions at the state professional
development conference. In-service teachers, graduate students, and university faculty
are encouraged to submit a proposal for consideration.
Research may be quantitative, qualitative, or mixed methods. Research should be
completed and related to music teaching and learning. In-service teachers conducting
action research in their classrooms are encouraged to submit these projects for consideration.
Best practice submissions should describe programs or practices that are
effectively meeting important goals in music
education. Proposals should include a specific
justification and/or rationale for the program
or practice, and a description of the context in
which it has been implemented.
All submissions must meet the Code of Ethics
published in the Journal of Research in
Music Education. The deadline for submission
is February 1, 2019. Submissions will
only be accepted through the online form.
TMEA will sponsor
a research and
best practice
poster session
plus three
research/
best practice
presentation
sessions at the
state professional
development
conference.
Tennessee Music Education Assocation | www.tnmea.org | 19

APPROACHING THE SIGHT-READING
COMPONENT FOR FESTIVAL/CONTEST
by Joe D. Moore
A
vital skill for any musician or ensemble
is the ability to sight-read. In addition to
contributing to musical growth of both the
individual and the ensemble, it is often a
required component of assessment events
such as contests or festivals. With the emphasis
placed on testing in the academic world, sightreading
is the musical equivalent of an exam. The
purpose of this article is to provide suggestions
which may help directors develop a systematic
approach to sight-reading with their ensembles.
When the director and students are comfortable
with a familiar routine that is also efficient, sightreading
becomes much less daunting. Forming
habits requires repetition, so it is important to
include sight-reading throughout the year rather
than introducing the process just prior to the
evaluation event. In addition to strengthening
the skills of both conductor and students, the
process of reading new literature can add variety
to rehearsals.
PREPARATION
Before developing your routine, it is vital
that you understand the procedures and
requirements for the event. These may
vary by state but can usually be found on
organizational websites and handbooks.
Research the following information:
What grade level will your ensemble sightread
and what is the criteria for that level?
• Some state-level events publish the required
criteria for each grade level including:
» keys and number of key changes
» meters and number of meter changes
» basic rhythms patterns encountered
(including those for percussion only)
» maximum durations of the pieces
What criteria do the adjudication sheets contain?
• Components usually include:
» Sound quality (tone, pitch, blend, balance)
» Technical accuracy (technique, rhythm)
» Musicality (style, dynamics, expression,
phrasing)
» Communication (response to fellow players,
response to conductor)Deportment
(attitude, discipline, appearance, use of
time)
• How much time is allowed?
• What are the rules (singing, tuning timpani,
etc.)?
If you are a new teacher or have relocated to a new
district, remember that experienced teachers
from that region can be an invaluable resource
in addition to your research online and through
handbooks.
Include the non-musical logistics as part of
your system so that they become a familiar part of
the routine to your students:
• Balance – In sections with more than one part,
assign strong players to each part to help maintain
proper balance in the ensemble sound. If
students sit in chair order for the stage performance,
they simply change their order as they
enter the sight-reading location.
» 1st chair = 1st part
» 2nd chair = 2nd part
» 3rd chair = 3rd part
» 4th chair = 1st part
» 5th chair = 2nd part
» 6th chair = 3rd part
• Pointers – Having students point to the music
during the allotted discussion time helps
to rein force your comments as well as keeping

Flute
Oboe
Clarinet in Bb 1
Clarinet in Bb 2
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Trumpet in Bb 1
Trumpet in Bb 2
Horn in F
Baritone Horn
Trombone
Tuba
°
& bb œ œ œ œ œ œ œ œ Uœ œ œ œ œ œ œ œ Uœ
& bb U U
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
U
U
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
U
U
& œ œ œ œ œ œ# œ œ# j œ œ œ œ œnœ œ œ œ œ œ#œ œ œ Œ
& # U U
œ œ œ œ œ œ# œ œ# J œ
œ œ œ œnœ œ œ œ œ œ#œ œ œ Œ
U
U
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ
œ œ œ œ œ œ œ# œ Œ
¢ & # U U
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
Œ Œ œ œ œ œ œ œ œ# œ Œ
°
U
U
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
U
U
& œ œ œ œ œ œ# œ œ# j œ œ œ œ œnœ œ œ œ œ œ#œ œ œ Œ
U
U
&b œ œ œ œ œ œ# œ œ# J œ
œ œ œ œnœ œ œ œ œ œnœ œ œ Œ
? b b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ Uœ U
Œ Œ œ œ œ œ œ œ œn œ Œ
œ U
U
?
œ
b b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
?
¢ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Key is G harmonic minor
(raised 7th degree)
Figure 1: Key/Mode Example
U
œ
Œ
Œ
U
œ œ œ œ œ œ œn œ
Forming habits requires repetition, so it is important to include sight-reading throughout
the year rather than introducing the process just prior to the evaluation event
Œ
Œ
students engaged. For example, having them touch the key signature
on the page when you address it. Where two students share
a music stand, you should experiment whether you want both or
just one of them to point.
• Percussion Assignments – Decide in advance which student will
cover which instrument. Although assignments should rotate
during the semester so that each student has opportunity to play,
decide on the strongest player for each instrument for the evaluated
event. When there are more students than there are parts to
cover, you might consider assigning a non-playing percussionist
to stand beside those who are playing (if it does not violate procedures).
• Folders – Using a set of sight-reading folders allows the distribution
and collection of music to be more efficient. This also
creates the habit of having the students put their concert folders
under the chair and receive a sight-reading folder which duplicates
the actual experience.
• Techniques – Establish and routinely utilize a counting system
for speaking rhythmic patterns. There are several effective
versions, but you should decide on one and use it consistently so
that you and your students are comfortable with it. In addition, a
system of articulating while moving keys/valves/slides without
producing a musical tone is necessary. Both techniques should be
employed on a regular basis so that students are confident with
the process and actively engaged in the activity.
• Time Management – Deciding how you proportion your given
time will depend on the ability and maturity levels of the ensemble,
as well as the difficulty of the music. You may decide to
allow less time for individual study and questions with a younger
group. Having the judge or a timekeeper announce how much
time is left can be distracting to both you and the group. Consider
taking an adult with you who has a timer and a set of flash cards
that can stand in the back of the room and hold up signs indicating
how many minutes are remaining so your instructions are
not interrupted.
22 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

DEVISING YOUR STRATEGY
Once you have researched procedures
and requirements and have addressed the
logistics involved, you are ready to develop
the system you want your ensemble to
use when sight-reading. Your system
will consist of three components: Study,
Discussion, and Questions.
I. Study
Before beginning the study segment,
make certain that everyone has the correct
musical selection and part (Baritone BC
vs. Baritone TC, etc.). Ask students to
adjust their chairs and stands so that they
have good visual contact with you. Adjust
row if necessary to replicate the set-up in
which they are accustomed.
When establishing a process for the
students to follow, some find it helpful to
use acronyms such as STAR (Signatures:
key and time; Tempo; Accidentals;
Roadmap: repeats, D.S., etc.). Regarding
accidentals, the mistake is usually not
missing the accidental itself since it is
clearly marked. The mistake usually
occurs with a repetition of the note within
the same measure or the return of the
note to the previous state in the following
measure.
When establishing your own process
as conductor, it is helpful to have a few
materials in place: metronome, music
dictionary, paper clips (for find pages on
a repeat), and a pad of small post-it notes.
Use the post-it notes to mark things in the
score you find in your own study that you
want to call attention to in your discussion
time. You may find it helpful to step off
the podium and glance over the 1st Flute
part before you open the score. This will
give you an overview of the structure and
any repeats that might be missed in the
many pages of a full score. When you begin
your score study, look for the following
elements:
» Key Changes (including modality –
minor keys often involve numerous
accidentals, raised 7th in particular,
as shown in figure 1)
» Meter Changes
» Tempo Changes
» Repeats
» Fermatas/Releases
» Dynamics
» Style
» Texture (soli sections, balance issues)
» Ending
Decide how fermatas are to be treated,
(release, no release) and plan to rehearse
those spots. Pay particular attention to
staggered entrances which occur in figure
2. If there are soli sections or sudden
thinning of the texture as shown in figure
3, include those areas in your discussion.
You can imagine if you were the snare
drummer and suddenly the rest of the
ensemble stopped playing and you were
continuing to play. If you did not know
that it was a soli section for percussion you
might think you were in the wrong place
and just stop playing. Identify potential
balance issues based on the scoring as
illustrated in figure 4 where the melody is
given to low voices with the remainder of
the ensemble playing the accompaniment
(particularly if your uppers voices
outnumber the low voices). Be sure that
you do not run out of time before studying
the ending of the composition. That is the
last musical impression you will leave
with the adjudicator. A solid, confident
ending is important to help everyone feel
good about their performance.
II. Discussion
Maintain a calm demeanor throughout
the process. Students will pick up on both
verbal and non-verbal cues from you. Pace
your speaking so that you are not frantic,
but also do not run out of time. Monitor the
engagement of your students during your
explanations. They should be pointing
to things you mention as well as being
actively engaged in counting, singing, etc.
Refer to the areas you marked with post-it
notes during your study time. Never try to
go measure by measure but highlight the
major areas you marked to cover. Have the
wind players silently finger the scales of
the key centers (noting in particularly the
4th degree of flat keys and the 7th degree
of sharp keys). Emphasize the importance
of good tone quality and musicality. If
dynamic markings are sparse, exaggerate
the ones that are present and look for
opportunities to be expressive.
III. Questions
How much time to devote to questions
or even the decision of whether to allow
questions will depend on the age level
and maturity of your group. If you do
allow questions, you will need to coach
your students concerning how to ask
them efficiently. Remind them to form
the question before they begin speaking
and to be specific with bar numbers
(allowing you to find it in the score since
your part looks very different from theirs).
With mature groups, you might consider
allowing discussion among themselves
for things you might not have covered or
specific instructions from section leaders/
principal players.
If allowed, have the ensemble play a
few notes or a brief chord progression.
This helps the embouchures after a time
of not playing. It also helps you to get an
idea of the room acoustics. This should be
a part of your routine and not something
unexpected to the ensemble.
EVALUATE AND REFINE
As you utilize your system throughout the
year, implement the following strategies
to monitor effectiveness and offer methods
for improvement:
• Solicit both positive and negative feedback
from your students.
• Video record the sessions to evaluate the
following:
» Effectiveness of your instruction
» Engagement of the students
» Efficiency of student questions
• Expose students to playing thinner textures
through participation in chamber
ensembles or playing full ensemble
chorales but omitting various families of
instruments.
• Strengthen your non-verbal communication
skills through your conducting
during the daily warm-up time by
focusing on:
» style
» phrasing
» dynamics
» expressiveness
» gradual and sudden tempo changes
• Simulate the adjudication factor by
bringing in colleagues to critique the
sight-reading sessions.
• Consider having the band sight-read on a
concert. I have found this to be informative
and enjoyable for the audience
in addition to simulating the pressure
Tennessee Music Education Assocation | www.tnmea.org | 23

Figure 2: Fermata with Staggered Pick-ups
Deciding how
you proportion
your given time
will depend on
the ability and
maturity levels
of the ensemble,
as well as the
difficulty of the
music
Flute
Oboe
Clarinet in Bb 1
Clarinet in Bb 2
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Trumpet in Bb 1
Trumpet in Bb 2
Horn in F
Baritone Horn
Trombone
Tuba
°
& bb œ œ œ œ œ œ œ œ Uœ œ œ œ œ œ œ œ Uœ
Œ
& bb U U
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
U
U
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
U
U
& œ œ œ œ œ œ# œ œ# j œ œ œ œ œnœ œ œ œ œ œ#œ œ œ Œ
& # U U
œ œ œ œ œ œ# œ œ# J œ
œ œ œ œnœ œ œ œ œ œ#œ œ œ Œ
U
U
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ
œ œ œ œ œ œ œ# œ Œ
¢ & # U U
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
Œ Œ œ œ œ œ œ œ œ# œ Œ
°
&
&
U
U
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
U
U
œ œ œ œ œ œ# œ œ# j œ œ œ œ œnœ œ œ œ œ œ#œ œ œ Œ
& b U U
œ œ œ œ œ œ# œ œ# J œ
œ œ œ œnœ œ œ œ œ œnœ œ œ Œ
? b b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ Uœ U
Œ Œ œ œ œ œ œ œ œn œ Œ
œ U
U
?
œ
b b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
?
¢ b b
U
U
œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ
Œ
œ
œ œ œ œ œ œ œn œ
Low voices enter two beats later
performers may feel during the actual event.
• Past sight-reading band arrangements used for UIL contests are
published by RBC Publishing and available for purchase through
J.W. Pepper. These arrangements provide excellent material to
use for ensemble sight-reading preparation. You might consider
inviting several colleagues to join you and purchase an arrangement
to share with each other.
FINAL THOUGHTS
As groups prepare for state evaluations it is easy to neglect the
sight-reading component in lieu of working up the prepared
selections. If there is an effective system in place which is utilized
throughout the year, sight-reading can be enjoyable for students
and directors instead of something to be dreaded. As a result, both
individual players and the ensembles which they participate in
will become musically stronger.
Sight-reading Materials
• 14 Weeks to a Better Band (Barnhouse)
• 101 Rhythmic Rest Patterns (Warner Bros)
• 202 Progressive Sight Reading Tunes (Gore)
• Exercises for Ensemble Drill (Warner Bros)
• Foundations for Superior Performance (Kjos)
• Hal Leonard Intermediate and Advanced Methods (Hal Leonard)
• Harmonized Rhythms (Kjos)
• I Recommend (Ployhar)
• Rhythm Master (Southern)
• Rubank Advanced Methods (Rubank)
• Sight Reading for Band Series (Southern)
• Symphonic Band Technique (Southern)
• TIPPS for Band (Warner Bros)
• TRI –Technique, Rhythm, Intonation (Southern)
• Winning Rhythms (Kjos)
Other Resources
• 16 Bach Chorales, arr. Lake
• 66 Famous and Festive Bach Chorales, arr. Erickson
• https://www.sightreadingfactory.com/
• Band arrangements by RBC Publications for UIL sight-reading
events are available through JW Pepper.
JOE D. MOORE is Director of Athletic Bands and Associate Director
of Bands at East Tennessee State University where he directs the
Marching Band and Basketball Pep Bands, conducts the Concert Band,
and teaches courses in Marching Band Methods, Brass Methods,
Orchestration and Arranging, and Music Fundamentals. He is the
former Director of Bands at Delta State University after teaching for
sixteen years in the public schools of Tennessee, Virginia, and Georgia.
He earned a Bachelor of Music Education from East Tennessee State
University, Master of Music in Music Education from the University
of Miami (FL), and a Doctor of Musical Arts in Wind Band Conducting
from the University of Kentucky.
24 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

Figure 3: Soli Example
Flute
Oboe
Clarinet in Bb 1
Clarinet in Bb 2
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Trumpet in Bb 1
Trumpet in Bb 2
Horn in F
Trombone
Euphonium
Tuba
Timpani
Snare Drum
Percussion
Cymbals
°
& b œ œ œ œ ˙ ˙ > œ
4
& b 4 œ œ œ œ ˙ ˙ ∑
>
œ Œ Ó œ œ œ œ œ œ ˙ ˙
>
œ Œ Ó
& # 4 œ œ œ œ ˙ > œ œ œ œ œ œ œ œ œ ˙
˙
œ œ œ œ œ œ ˙ ˙
>
œ Œ Ó
& # 4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
>
œ Œ Ó
& # # >
>
4
œ œ œ œ œ œ ˙ œ Œ Ó ∑ œ œ œ œ œ œ œ œ ˙ œ Œ Ó
& # 4
˙
œ ∑
œ œ œ
˙
>
œ Œ Ó
œ œ œ œ œ œ ˙
˙
>
œ Œ Ó
¢ & # # >
>
4 œ œ œ ˙ ˙ œ Œ Ó ∑ œ œ œ
œ
œ œ œ ˙ ˙ œ Œ Ó
°
& # 4 œ œ œ œ ˙ ˙
>
œ Œ Ó ∑ œ œ œ œ œ œ ˙ ˙
>
œ Œ Ó
& # 4 œ œ ∑
œ œ œ œ ˙
>
œ Œ Ó œ œ œ œ œ œ œ œ ˙
>
œ Œ Ó
>
>
& 4 œ œ œ œ œ œ ˙ œ Œ Ó ∑ œ œ œ œ œ œ œ œ ˙ œ Œ Ó
? œ œ œ œ œ œ œ œ œ ˙ > œ
œ œ œ œ œ œ >
b 4
Œ Ó
∑
œ œ ˙ œ
Œ Ó
? ˙
>
>
b 4
œ œ œ œ
˙ œ Œ Ó ∑ œ œ œ œ œ œ ˙
˙ œ Œ Ó
? ¢ b 4
˙
œ œ œ œ
˙
>
œ
Œ
Œ
Ó
Ó
∑
∑
œ œ œ œ œ œ ˙ ˙ > œ
œ œ œ œ œ œ ˙
° ? ¢ b 4
Œ Ó
∑
œ œ ˙ ˙ ˙
>
œ
˙ œ œ ˙ ˙ œ œ œ œ œ œ œ
œ œ œ œ
>
°
/ 4 Ͼ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ æ œ Œ Ó ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ æœ œ œ œ œ œ æœ œ œ œ œ œ
>
/ 4 ˙ œ œ ˙ œ œ œ Œ Ó ∑ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ
>
¢ / 4 w ∑ œ Œ Ó ∑ w w œ œ ˙ œ œ ˙
˙
>
œ
Œ
Œ
Ó
Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Monitor the
engagement of
your students
during your
explanations.
They should
be pointing
to things
you mention
as well as
being actively
engaged
in counting,
singing, etc
Flute
Oboe
Clarinet in Bb 1
Clarinet in Bb 2
Bass Clarinet
in Bb
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Trumpet in Bb 1
Trumpet in Bb 2
Horn in F
Baritone Horn
Trombone
Tuba
°
&b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
4
mf
&b b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
mf
& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
mf
& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
mf
& 4
œ œ
œ œ œ œ ˙ œ œ œ œ œ œ ˙
f
& # 4 œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙
mf
& 4
œ
f
¢ & # 4 œ
f
°
&
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
mf
&
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
mf
&b
4 œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙
mf
? b b
4 œ
f
? b b
4 œ
f
? ¢ b b4
œ
f
œ
œ
œ
œ
œ
Figure 4: Potential Balance Problems
œ œ œ œ ˙ œ œ œ œ œ œ ˙
œ œ œ œ ˙ œ œ œ œ œ œ ˙
œ œ œ œ ˙ œ œ œ œ œ œ ˙
œ œ œ œ ˙ œ œ œ œ œ œ ˙
œ œ œ œ ˙ œ œ œ œ œ œ ˙
Tennessee Music Education Assocation | www.tnmea.org | 25

MUSIC AT
Milligan produces life-long learners and lovers of music, as well as accomplished performers. The program’s
faculty consists of knowledgeable and experienced musicians who also are dedicated and caring educators
focused on helping students achieve their musical goals.
MAJORS
Music Performance
Music Business
music education
(Instrumental, Vocal)
Musical Theatre
fine arts (MUSIC EMPHASIS)
worship leadership
MINORS
music Performance
Musical Theatre
Worship leadership
ENSEMBLES
Concert Choir
Women’s Chorale
Orchestra
String Quartet
Civic Band
Johnson City Symphony
Orchestra
Heritage
Herd Mentality
SCHOLARSHIPS
Scholarships are available, regardless of a student’s intended
major. To schedule an audition, call 423.461.8723, or email
music@milligan.edu.
FACULTY SPOTLIGHT
Dr. Carrie Klofach Musical Theatre
|
Leading Milligan’s new musical theatre major this fall, Klofach has extensive
experience playing lead theatrical roles, singing in operatic productions, and
helping manage productions behind the scenes. She holds a bachelor’s in
music from Grand Canyon University and both
a master’s in musical theatre performance and
doctorate in vocal performance from Arizona
State University.
Klofach has premiered several musicals
including the world premiere of “The
Quiltmaker’s Gift,” playing the Quiltmaker at
Phoenix Theatre in Phoenix, Arizona. She also
appeared in the First National Tour of “Veggie
Tales Live” as Marcy.
LEARN MORE
MILLIGAN.EDU/MUSIC
26 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1
A TOP COLLEGE & BEST VALUE.
–U.S. NEWS

WHEN HELPING
HURTS
DEVELOPMENTALLY
BY MICHAEL A. RAIBER
APPROPRIATE TEACHER MENTORING
DaLaine Chapman, Ph. D.
28 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

ALTHOUGH WE IN MUSIC TEACHER EDUCATION
work diligently to prepare young music educators
during their preservice education,
we must also recognize that “most of the
learning to teach music occurs in the first
years” (Conway, 2010, p. 268). During this
time, many young music educators seek
the advice of mentors. These mentoring
relationships are sometimes formal, such
as school district or state sponsored programs
that pair entry-level music educators
with more experienced teachers. Other
mentoring relationships are informal
and include more spontaneous meetings
like those with a colleague at a conference
or convention. No matter what type of
relationship, mentors can have a substantial
influence on young music teachers
who value mentor’s insights and expertise
(Conway, 2010).
Research suggests, however, that all
mentoring is not created equal (Drafall,
1991; Glickman, 1985; Glickman, Gordan
& Ross-Gordon, 1995). Before providing
feedback or advice, effective mentors consider
the developmental level of the educator
they are intending to help. These
mentors use this information to ‘package’
the feedback they are providing in ways
that will be understood by the mentee.
This research suggests when mentors fail
to match their supervisory approach with
a teacher’s developmental level, intended
help is often misunderstood and/or ignored.
Before providing
feedback or advice,
effective mentors
consider the
developmental level of
the educator
they are intending
to help.
teachers often have concerns about personal
adequacy or being ‘cut out’ to teach.
MUSIC TEACHER DEVELOPMENT
A number of approaches have been used
to investigate teacher development. However,
a ‘teacher concerns’ model (Fuller
& Bown, 1975) has attracted significant
attention in recent music education research
on this subject (Killian, Dye & Wayman,
2013; Miksza & Berg, 2013; Powell,
2014). This model suggests that development
is reflected by shifts in teacher concerns.
These concerns are defined by the
elements that garner a teacher’s primary
attention or their most pressing psychological
need at any given moment. Fuller
and Bown classified these concerns into
three levels of teacher development, a)
self- or survival concerns, b) teaching or
task concerns, and c) student-learning or
student-impact concerns. While Fuller
and Bown provide clear definitions and
lists of characteristics for each level, they
also recognize teachers will most often
share concerns on multiple levels. They
additionally note context can have significant
impact on teachers’ concerns. In
a new context or setting, young teachers
tend to revert to task concerns or self-concerns
even if they were previously operating
at student-learning concerns levels in
more familiar contexts. It is, therefore, the
preponderance of concerns shared by the
teacher that will help mentors focus their
feedback.
Self-concerns are characterized by a
teacher’s need to establish his or her sense
of self as a teacher rather than a student.
These teachers often have concerns about
personal adequacy or being ‘cut out’ to
teach. They are easily influenced by their
perceptions of student acceptance and
external evaluations concerning their
teaching performance. When talking with
teachers operating at this developmental
level, their comments often begin with
“I.” Common statements might include, “I
hope the students like me” or “I don’t want
to be the mean teacher.”
Those functioning at a task concerns
level focus on mastery of teaching techniques
and the day-to-day work of teaching.
These music educators are most concerned
with issues like planning lessons or
rehearsals, mastering materials, and applying
teaching strategies. These teachers
will share thoughts like, “I am concerned
that I talk too much in rehearsal” or “I need
to know more about grade 2 repertoire.”
These teachers are often very lesson plan
oriented. If their plan contains several
steps of instruction, they will follow those
steps without regard to student needs. The
goal is to present or teach the plan.
Music educators who are primarily concerned
with student learning will share
comments and questions like, “I am having
trouble balancing individual student
needs within my classroom”, or “How do
I help my more advanced performers stay
engaged while I provide more remedial
instruction to the students who need it?”
These teachers are most concerned with
student achievement, student engagement,
motivation for learning, and the personal
well-being of their students. One will find
these teachers ‘come off their plans’ when
it is necessary to meet the needs of the students
in the classroom. While they do not
lose sight of desired learning outcomes,
they are willing to arrive at those outcomes
in various ways and will allow the learner
to at least partially define the means and
methods to get there.
DEVELOPMENTAL SUPERVISION
Glickman (1985) developed a supervisory
model that accounts for teacher development.
The goal of this model is to match
the supervisory approach with the teacher
developmental level so the mentored
teacher both understands the information
being provided and uses the information to
further his or her development. Glickman’s
model was intended to facilitate in-service
teacher development, but Drafall (1991)
successfully applied the model to facilitate
pre-service music teacher development as
well. Glickman’s model places supervisory
behaviors in three categories, a) directive
behaviors, b) collaborative behaviors, and
c) non-directive behaviors.
Using directive supervisory behaviors,
the mentor will choose the goals for the
teacher and direct the teacher to implement
specific actions. The mentor may ask
for and consider teacher feedback but remains
the source of information while of-
Tennessee Music Education Assocation | www.tnmea.org | 29

fering alternatives from which the teacher
may choose a course of action. This supervisory
approach is appropriate to use when
time is short and concrete actions need to
be taken or when the teacher lacks needed
knowledge, skills, or experience necessary
to affect change. To be effective, the
teacher must view the mentor as a credible
source and the mentor must be willing to
take responsibility for the actions of the
teacher. This suggests that effective mentors
who find a directive approach necessary
develop relationships with those they
supervise. They work with these teachers
over time and provide additional feedback
when needed.
Mentors who choose to use a collaborative
approach may do so for several
reasons. They may determine the teacher
being advised is functioning at a moderate
level. The teacher demonstrates the ability
to make effective decisions, but may
not have the confidence to implement actions
with authority. Additionally or alternatively,
the mentor may determine the
teacher’s knowledge base is similar to his
or her own and both mentor and teacher
are invested in the decision being considered.
Often, when a collaborative approach
is used, both the mentor and the teacher
are equally committed to solving the problem.
A collaborative approach requires the
mentor and teacher openly discuss possible
solutions and reach an agreed-upon decision
regarding how to improve instruction
that is genuinely acceptable with both
parties. As a result the teacher is affirmed
in his or her ideas about teaching.
When an effective mentor determines
the teacher is functioning at a high level
and possesses most of the knowledge and
expertise necessary to be effective, he or
she will often choose to use a non-directive
supervisory approach. In doing so the
mentor will start by asking open-ended
questions to guide the teacher’s thinking,
but decision-making and implementation
remains the sole responsibility of
the teacher. The mentor will not interject
ideas, but only clarify the thoughts or
ideas provided by the teacher. The goal of
this approach is to assist the educator in
thinking through alternatives that help the
teacher reach his or her own conclusions.
DEVELOPMENTALLY APPROPRIATE MENTORING
Matching a teacher’s developmental
level (Fuller & Bown, 1975) with a specific
supervisory approach (Glickman, 1985) is
As the mentor and
teacher work together
to find answers to
the issues at hand,
effective mentors
steer conversations
away from teaching
concerns and focus
on student learning.
likely to provide the most effective mentoring
outcomes for all involved. This
suggests a directive approach would be
most effective for teachers operating at a
self-concerns level. At this point, mentor
feedback should not only provide solutions
to immediate issues, but also help direct
the teacher’s concerns away from self
and more toward teaching. As teaching
concerns become the educator’s primary
focus, mentoring should change to a more
collaborative approach. As the mentor and
teacher work together to find answers to
the issues at hand, effective mentors steer
conversations away from teaching concerns
and focus on student learning. In
effect, mentors model this concern for the
teacher. As the teacher’s concerns become
centered on student learning, the effective
mentor moves to a non-directive approach,
coaching the teacher as he or she
makes decisions for themselves. In general,
as teachers become increasingly aware
of their impact, they are provided greater
autonomy.
A note of caution is necessary at this
point, because the process outlined above
appears to suggest that effective mentoring
is very systematic with teachers consistently
moving from one concerns level to
the next. Fuller and Bown note, however,
that teacher development is not linear, but
fluid, as teacher concerns tend to revolve
rather than evolve depending upon context.
Therefore, the mentoring approach
must be fluid as well. Even if the mentoring
approach has been non-directive, it
is not uncommon to find it necessary to
provide a directive approach when teachers
are in new environments or have new
information to apply to their teaching.
Additionally, a teacher may be at different
stages of development in different environments.
For example, a young band director’s
concerns may be focused on student
learning in the concert ensemble, but due
to lack of experience, he or she is self-concerned
when working with a jazz ensemble.
Effective mentors will match their supervisory
approach to the developmental
level demonstrated by the teacher at any
given time.
Mentors have had and will continue to
have a tremendous effect on young music
educators. When mentors effectively assess
a teacher’s developmental level and
match their supervisory approach to that
assessment, they are likely to find their
feedback and advice to be increasingly effective.
The outcome will benefit many,
but most importantly, students in music
classrooms will be the primary beneficiaries
of effective teacher mentoring.
REFERENCES
Conway, C. (2010). Issues facing music
teacher education in the 21st century:
Developing leaders in the field. In H. S.
Abeles & L. A. Custodero (Eds.), Critical
issues in music education: Contemporary
theory and practice, (pp. 259-275).
New York: Oxford University Press.
Drafall, I. E. (1991). The use of developmental
clinical supervision with student
teachers in secondary choral music:
Two case studies. Available from
ProQuest Dissertations and Theses database.
(UMI No. 9210787)
Fuller, F. F. & Bown, O. H. (1975). Becoming
a teacher. In K. Ryan (Ed.), Teacher
education 74th yearbook of the National
Society for the Study of Education, part
II (pp. 25-52). Chicago: University of
Chicago Press.
Glickman, C. D. (1985). Supervision of instruction:
A developmental approach.
Boston: Allyn & Bacon.
Glickman, C. D., Gordon, S. P. & Ross-Gordon,
J. M. (1995). Supervision of instruction:
A developmental approach
(3rd ed.). Boston: Allyn & Bacon.
30 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

Killian, J. N., Dye, K. G. & Wayman, J. B. (2013). Music student
teachers: Pre-student teaching concerns and post-student
teaching perceptions over a 5-year period. Journal of Research
in Music Education, 61(1), 63-69.
Miksza, P. & Berg, M. (2013). A longitudinal study of preservice
music teacher development: Application and advancement of
the Fuller and Bown teacher concerns model. Journal of Research
in Music Education, 61(1), 44-62.
Powell, S. (2014). Examining preservice music teacher concerns
in peer and field teaching settings. Journal of Research in Music
Education, 61(4), 361-378.
DEPARTMENT OF MUSIC
DR. MICHAEL RAIBER is a Professor of
Music and holds the Busey Chair
in Music Education at Oklahoma
City University. For the sixteen
years previous, he taught undergraduate
and graduate courses
at the University of Oklahoma
and Oklahoma State University.
His public school teaching experience
includes thirteen years at
schools in Missouri and Oklahoma.
Mike is native Oklahoman. He attended high school in the
Tulsa area and then earned both a BME and MME from the University
of Tulsa. He completed his Ph.D. in music education at the
University of Oklahoma. Music teacher education is his passion
and his chief focus. His greatest desire is to help prepare quality
music educators who will inspire the next generation of music
students.
In addition to his teaching, Mike serves at the primary conductor
and Director of Teacher Support for El Sistema Oklahoma
(ESO). Now in it second year, this program serves the families of
over 180 children in Oklahoma City. Modeled after the successful
endeavors in Venezuela, ESO seeks to enable social action
through music.
Dr. Raiber is also an active author and researcher. His co-authored
textbook, The Journey from Music Student to Teacher: A
Professional Approach was published by Routledge in January
2014. Equally founded in research and practice, this book espouses
a new approach to preparing music education students as they
become quality professional music educators. Mike is currently
the primary researcher for El Sistema Oklahoma investigating the
programs impact on all stakeholders involved. He was the primary
investigator on the collaborative research team for Oklahoma A+
Schools® (OAS) that produced a five-volume report on the implementation
of the OAS school reform model in Oklahoma schools.
Mike is the President of the Oklahoma Music Educators Association.
His professional affiliations include, the National Association
for Music Education, Oklahoma Music Educators Association,
and the Society for Music Teacher Education.
This article originally appeared in Ala Breve, the official publication
of the Alabama Music Educators Association, August/
September, 2015. Reprinted with permission.
BACHELOR OF MUSIC
Concentrations include:
• Guitar Performance
• Instrumental Performance
• Keyboard Performance
• Vocal Performance
• Composition
• Music Education
Choral/K-12 General Music
Instrumental/K-12 General Music
BACHELOR OF ARTS/SCIENCE
Customizable music degree plans for a
variety of music and music-related careers
MASTER OF MUSIC
Concentrations include:
• Instrumental Performance
• Vocal Performance
• Instrumental Conducting
• Choral Conducting
• Music Education (with licensure option)
Graduate assistantships are
available.
Tuition waivers are available
to out-of-state students.
Audition dates are available at
www.apsu.edu/music/graduate/auditions
www.apsu.edu/music/undergraduate/auditions
FOR INFORMATION, CONTACT:
Department of Music
P: 931-221-7818 • music@apsu.edu or
visit www.apsu.edu/music
Austin Peay State University does not discriminate on the basis of race, color, religion, creed, national origin, sex, sexual orientation,
gender identity/expression, disability, age, status as a protected veteran, genetic information, or any other legally protected class
with respect to all employment, programs and activities sponsored by APSU. http://www.apsu.edu/policy. Policy 6:003
AP58//8-18/3
Tennessee Music Education Assocation | www.tnmea.org | 31

CLASSROOM CLASSICAL GUITAR
Our biggest challenge was not yet apparent in 2001 when we first began the Educational Outreach Program of the Austin Classical
Guitar Society (ACGS). ACGS, a nonprofit organization with broad community-based classical guitar programs, had
received a financial contribution to support expert teachers to visit what was then one of two classroom guitar programs in
Austin, Texas schools. Our teachers were to provide individual instruction for dedicated low-income students.
Almost immediately, the school’s program
director – a choir director by training,
who was a classical guitar enthusiast
– invited our teachers to assist with classroom
direction in addition to individual instruction.
Our instructors noticed a degree
of misalignment between what they felt
to be a proper sequence of classical guitar
instruction and what was actually happening
in the classroom. The main problem
was that there was no vast library of carefully
graded ensemble music for guitar—
unlike what had been developed over the
last century for choir, orchestra and band
programs. So, with determination, elbow
grease, talent, and creativity, our teachers
began a collaboration to come up with sequenced
repertoire solutions - some originally
composed and some fashioned from
existing literature - that would allow them
to teach the classes effectively.
The program operated in this manner
for three years. During this time, it grew
from 15 to 85 students and a nearby middle
school began a program with our help as
well. They had 13 students in the first class.
Six graduates had already been accepted to
college with scholarship offers. By 2004,
ACGS found itself more or less responsible
for the musical education of about 100
young people. But we were reinventing the
wheel each semester. It was at that point
that our biggest challenge became apparent:
We needed to develop a comprehensive,
A to Z, curricular solution for classroom
classical guitar.
The wish list was a long one: Develop a
strictly ensemble solution that would allow
a teacher to teach from the podium while,
at the same time, engaging each student in
a common music-making experience; develop
a graded sequence mirroring widely
accepted methods for teaching individuals,
but tailored to the special concerns, especially
pacing and common technical pit-
by Matthew Hinsley
HOW CURRICULUM
DEVELOPMENT AND TEACHER
TRAINING TRANSFORMED
CLASSROOM CLASSICAL
GUITAR IN CENTRAL TEXAS
AND BEYOND, AND, IN
THE PROCESS, ENGAGED
THOUSANDS OF MIDDLE AND
HIGH SCHOOL STUDENTS IN
SCHOOL-BASED FINE ARTS
FOR THE FIRST TIME.
32 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

falls, that relate to teaching in large groups; maintain a musically
expressive focus at all times in the classroom—from the very first
notes on the very first day; create a solution for the common eventuality
that single classes will contain students with a wide variety
of skill levels that need to be meaningfully engaged at the same
time; develop theory worksheets and exam components relating
directly to the ensemble repertoire at each stage of graduated student
development; create graded ensemble sight-reading exercises
for all levels; write a comprehensive pedagogical sequence document;
and develop a comprehensive library of stylistically varied
ensemble music to support instruction at each level.
THE ENSEMBLE SOLUTION
While visiting many guitar classrooms, both in Austin and beyond,
we observed a wide variety of quality and success. The least
successful (from a classical guitar pedagogical standpoint) were
classes that employed a wide stylistic focus. These classes tended
to operate more like “guitar clubs” than guitar classes. Students
were rarely developing the kinds of skills one would associate with
a quality school-based music program: music literacy, sight-reading,
attention to dynamic/expressive markings, high quality rehearsal
and performance skills, etc. And in no cases did we find
that these types of classes yielded consistent results in terms of
classical guitar technical development. The best technical results
we observed involved teachers who led their classes through established
method books with all students playing the same thing
together. While students in these classes tended to move well
and show discipline, the results were not particularly musically
fulfilling, and the lack of ensemble playing made entry into these
“group individual lesson” environments strikingly different than
entry into orchestra classes where students were making beautiful
music together. Our solution, we concluded, would have to be
entirely ensemble-oriented. We settled on a system of three-part
guitar ensemble music for all beginning and intermediate repertoire,
including sight-reading.
A GRADED SEQUENCE
One of our greatest frustrations when reviewing the published
literature for pedagogically appropriate ensemble music, was
that while an individual part of a piece of music may be relatively
“easy” for the first 30 measures or so, it would often depart into a
technically challenging section for the next 30 measures! In some
cases, it seemed composers had a general sense of the level they
were writing for but, understandably, more often the musical result
they were seeking would take precedence over staying within
any sort of strict technical guidelines. While occasional technical
departures might be manageable when coaching a talented
ensemble of three or four players who have private instruction,
trying to teach a class of 15 high school students, with no private
instruction is only possible when parts strictly adhere to appropriate
technical specifications.
We developed a curriculum of nine graduated levels of advancement.
With all the music we would create, we would be sure that
any part could fit snugly into one of these nine levels. In summary,
the skills presented in each level break down as follows:
» Level 1 - Open string reading with “fixed” fingers in the right
hand and minimal left hand rote elements
Tennessee Music Education Assocation | www.tnmea.org | 33

» Level 2 - Reading on strings 1, 2 and
3 in first position (right hand fingers
still fixed)
» Level 3 - im alternation and string
crossing (no new notes) Classroom
Classical Guitar
» Level 4 - Bass notes on strings 4, 5
and 6
» Level 5 - Combined skills of Levels
1-4 with complexity, add simple slurs
» Level 6 - Simple arpeggios
» Level 7 - Complex arpeggios and
barring
» Level 8 - Moderate upper position
reading and rest stroke
» Level 9 - Advanced upper position
reading
The most troubling technical problems
we observed during our survey of classroom
students related to the right hand.
Problematic right hands were tense, too
low, bent down from the wrist, did not
“string cross,” had fingers plucking “up and
away” instead of moving naturally into the
hand, or some combination of all of these
things. These issues are hard enough to address
one-on-one with students, and they
are far more challenging in large class environments.
In developing our sequence, we
particularly sought precautions to allow
teachers maximum facility in developing
right-hand technique. Our solution was to
dedicate the first two levels to “fixed finger”
positions with the emphasis on hand
position and stroke quality, followed by an
entire level. Level 3 would focus solely on
finger alternation and string crossing - two
techniques that must be introduced with
great care.
TEACHING MUSICIANSHIP
As concerned as we were with careful technical
sequencing, we were even more concerned
– thanks to the advice of Robert Duke,
founder of the Center for Music and Human
Learning at the University of Texas at Austin
- with engaging young people in the joy of
music-making from the very first notes in every
class. We had visited a few classes where
talented and earnest young guitar teachers
were doggedly leading their classes through
a series of technical exercises and pieces of
music that were thinly veiled technical exercises.
In these classes, we heard little that
could be described as beautiful, expressive
music.
In his book, Intelligent Music Teaching,
Duke wrote, “Learning efficiency is maximized
when all of the elements of [musicianship]
are introduced and practiced in
contexts that are as much like the final goal
as possible. In other words, students learn
best when each learning opportunity closely
resembles the long-term goal itself .” 1
In developing our library of music in accordance
with our nine-level technical sequence,
therefore, our guiding principle at
all times was to write music, no matter how
technically simple, that would be expressively
engaging, and that carried ample dynamic
expressive indications at all times.
Duke recently said: “ACGS has made a
signal contribution to the world of guitar
pedagogy. Working from well-grounded underlying
principles of human learning and
behavior change, and focused on the goal of
expressive and refined music-making, the
organization has developed a curriculum for
instruction that engages learners from their
first experiences with the guitar, emphasizing
beauty of sound and effective communication
throughout the development of technical
capacity.”
TEACHING TO MULTIPLE SKILL LEVELS
One of the toughest nuts to crack is the
issue of dealing with students at multiple
skill levels in the same class. This sometimes
occurs because school administration
can allow for only one section of guitar to be
taught meaning that “last year’s” level 4 students
begin their second year of study in the
same room as the current level 1 beginners!
We often observed talented students who had
studied privately training for years before entering
one of our guitar classes. Then, all of
a sudden we had level 8 or 9 students, combined
with intermediate students and even
beginners.
Our solution to this problem was to develop
a comprehensive library of guitar ensemble
music instructing our composers to write
multiple versions of each part appropriate
to multiple skill levels. The result? We could
have several “part ones” in multiple levels,
any one of which could combine with any of
the multiple “part twos” we had, that could in
turn combine with any of the “parts threes,”
yielding countless level combinations! We
even asked Web developers to load the entire
database online and create a search function
wherein our teachers could enter their individual
classroom makeup and have scores
and parts returned instantly to them, allowing
them to meaningfully engage every member
of their class at the same time.
THE RESULTS
Observing the transformation of classroom
classical guitar instruction over the
past eight years in Central Texas has been
a remarkable experience. While the project
is constantly being revised and expanded,
the ACGS curriculum was primarily developed
between 2004 and 2008. We have built
programs in 17 public, private and charter
schools, and have supplied our curriculum
to many additional cities throughout the
United States and Canada. In Austin alone,
our affiliate programs accommodate about
750 students each day. Our educators buzz
from location to location directing classes,
team-teaching, training teachers, planning
recitals, and working with small ensembles.
We now provide more than 10 hours a week
of individual lessons for low-income students,
and ACGS owns more than 80 guitars
that are on free loan to schools and individuals
in need.
Jeremy Osborne, our assistant director of
education, describes his experience in this
way, “I have to constantly change my role in
the classroom virtually each period of the
day. One hour I will be working directly with
kids and will have complete control over
what is being taught in the class. The next
hour, I will be taking a backseat, observing
another teacher, quietly straightening student
wrists, and interjecting with concepts
when absolutely necessary. Transitioning between
being a teacher and a consultant presents
me with a unique set of challenges that,
when met, yield the reward of solid progress
in a new frontier of music education. The
most inspiring part of my work with ACGS
is knowing that, through the development of
guitar education, we are successfully creating
new opportunities for students to have a
meaningful relationship with music and art.”
Our enrollment is extremely diverse. We
have strong programs in middle and high
schools in economically disadvantaged areas
of Austin. About 65 percent of our enrolled
students are Hispanic and 40 percent are
female. Perhaps most interesting, however,
is that, according to a poll we conducted
in 2009, almost 90 percent of our students
are attending school-based performing arts
classes for the first time in middle and high
school through guitar class. We are not seeing
kids that were band, orchestra, or choir
students, or “music kids” who have decided
to go play guitar instead of, or in addition to,
their other musical endeavors. Nearly all of
the young people we see are trying performing
arts in middle and high school for the first
time because they are drawn to guitar.
34 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1

Travis Marcum has directed ACGS Education and Outreach Programs
since 2005: “Over the past five years, I have seen a complete
shift in Austin’s music education environment. Music teachers
that once resisted change in the traditional school curriculum have
embraced the guitar as a vehicle for reaching a more diverse group
of students who would otherwise never experience music making.
Thousands of students, many at risk of underperforming scholastically,
dropping out, or even entering the juvenile justice system, have
changed their attitudes about learning because of guitar class. They
are making beautiful music on the guitar and transferring these skills
to other parts of their lives. These students are going to conservatory,
teaching in the community, performing at Austin’s local venues and
around the world. Each day in the classroom, I feel like I am part of
something progressive, meaningful. and life-changing for these students.”
In 2009, the University of Texas, School of Social Work conducted
a social impact study on the program’s effects on students in three
schools. The study, under the direction of Calvin Streeter, focused on
a measurement technique called concept mapping, which seeks to
accurately relate the effect of a program through the recipient’s own
words. Sixty-seven statements were made by students in our program
that were then sorted, categorized, and evaluated by the entire student
population.
We learned a number of interesting things during the course of the
study. One of the more interesting aspects was that “selfesteem,” as a
concept, was ranked as the most important overall by both teachers
and students. Common themes included: “The class gave me many
new experiences;” “I like playing in front of people;” “It’s given me
more confidence;” “It gives me a feeling of accomplishment;” and “I
feel proud of myself.” Another concept that ranked high on the list,
“unique learning environment.” This included such statements as:
“This class has more interaction with the teachers – everyone gets
attention;” “It’s easier to ask for help in this class;” “It doesn’t make
you feel dumb if you don’t get it;” “It’s okay in this class if you don’t understand;”
“I like that we play in pieces or sections, so we are all needed;”
and “Everyone messes up in this class sometimes, so it doesn’t
feel bad to mess up in this class.” Improved self-esteem, feelings
of belonging, and safety in music class are things that we, as music
teachers, intuitively know to be natural results of great music education.
It was great to see these ideas reflected so clearly in the work of
independent tresearchers.
OBSERVATIONS
Once we decided to venture into curriculum development, it
didn’t take long to develop an outline for what we hoped to accomplish.
It seemed reasonable to expect, given enough time and the
resources of talented educators, that we would be able to create
the materials we envisioned. What we were not prepared for, however,
was the degree to which diverse, modern young Americans
would flock to the classical guitar, stick with it, and become passionately
engaged with it. Indeed, in 2003, many people we spoke
with thought we were crazy to promote a purely classical guitar
curriculum. The sentiment we encountered, and still often run
into, was that very few young people would be interested in the
guitar unless they were playing classic rock or pop music.
What we’ve learned in the intervening years, however, is that
classical music on the guitar has a powerful ability to attract and
retain diverse students to school-based music study. Some students
we’ve encountered are playing music for the first time, some
have played classical guitar before, and others play rock and pop
styles on the guitar casually or with private teachers. For the vast
majority of students, the beauty, intricacy, and challenge of learning
expressive music on the classical guitar, combined with the
contextualizing structure of performances or competitions, develops
a deep, permeating passion for the art form. While excellent
and pedagogically-sound courses in pop guitar playing do exist, we
now know that classroom classical guitar classes, when administered
appropriately, can be incredibly potent vehicles for bringing
new and diverse students to school-based fine arts. Over the 10
years that ACGS has been involved in public school guitar education,
we have become aware of a number of remarkable, inventive,
passionate, and successful educators who have been building similar
programs in other parts of the United States. The stories we
hear, from California to Nevada to New Mexico to Oklahoma to
Florida to Virginia, are similar: large numbers of students, from
diverse backgrounds coming to music study – and sticking with
it – through guitar classes. A community-based nonprofit organization
involved in curriculum and training, we are overjoyed by
the number of choir, orchestra and band directors (and non-guitarists)
from across North America who have become successful
class guitar instructors. They are adding guitar sections to their
course loads and substantially building their enrollments. We’re
also thrilled to see new jobs created for classical guitarists who
are certified educators, as schools begin hiring full time guitar instructors
to meet the rising demand.
Several years ago, an education reporter from a local Austin
newspaper attended a class at a brand new program and wrote a
front page story on what she saw. She ended the article with a
quote from a senior classman who was taking guitar for the first
time: “It’s the first thing that’s really interested me,” he said, “it
just motivates me to come to school because I want to come to this
class.”
MATTHEW HINSLEY, PH.D., was trained as a classical
guitarist and vocalist at the Interlochen
Arts Academy, the Oberlin Conservatory
of Music, and the University of Texas at
Austin. Beyond perform- ing and scholarly
pursuits, Hinsley has cultivated two primary
professional interests: to enhance the
way young classical guitarists are trained
in America, and to transform the way arts
organiza- tions serve our diverse communities.
As executive director of the Austin
Classical Guitar Society, Hinsley has raised
well beyond $1.5 million in support of broad
concert, outreach and educational programming. He was a lead author in
the ACGS’ curriculum (GuitarCurriculum.com) that serves thousands of
young students throughout North America, and founded the ACGS performance
outreach program. Hinsley’s private studio has produced students
who have three-times advanced to the final round of the prestigious Guitar
Foundation of America International youth competition, including the
winner in 2006.
Reprinted with permission from American String Teacher, vol. 61, no. 2.
Copyright © 2011 by American String Teachers Association.
Tennessee Music Education Assocation | www.tnmea.org | 35

MusicatTech
2019 Audition Dates:
Fri., February 15, 2019
Fri., February 22, 2019
Fri., March 15, 2019
Cody Hoenie, a junior from Knoxville, Tennessee, studies with Dr. Colin J. Hill. PHOTO BY WARREN LAFEVER.
You have dreams, goals, plans for your future. You want to teach;
you want to perform; you want to study with a world–class faculty . . .
• We offer degrees in music education
(K–12 with instrumental or vocal licensure),
as well as performance degrees in winds,
percussion, strings, piano, voice, jazz, and
music composition.
• Scholarships are available for both music
majors and non–music majors. Please visit
our website to apply.
Member of
NASM
since 1967
• Hundreds of events each year feature our
bands, choirs, orchestras, and chamber
groups as well as student, faculty, and
guest artist recitals.
• Call, write, or schedule a campus visit.
We’d love to meet you and answer your
questions.
www.tntech.edu/music
Tennessee Tech University
School of Music
Box 5045
Cookeville, TN 38505
(931) 372–3161
music@tntech.edu
Tennessee Tech does not condone and will not tolerate discrimination against
any individual on the basis of race, religion, color, creed, sex, age, national
origin, genetic information, disability, veteran status, and any other basis protected
by federal and state civil rights law. Tennessee Tech complies with Title
IX and prohibits discrimination on the basis of sex in education programs and
activities, admissions or employment. For inquiries regarding non-discrimination
policies, contact equity@tntech.edu; for Title IX, TitleIX@tntech.edu The TTU
policy on nondiscrimination can be found at www.tntech.edu/ideaa.

TENNESSEE MUSICIAN ADVERTISER INDEX | VOLUME 71, No. 1
A very special
thank you to all
of our advertisers
who support the
work of music
educators at all
levels in the State
of Tennessee.
ADVERTISER
Austin Peay State University 31
Belmont University 9
Bob Rogers Travel 27
East Tennessee State University 11
Lee University
Inside Front Cover
Lipscomb University
Back Cover
Maryville College 14
Middle Tennessee State University 3
Milligan College 26
NAMM Foundation 40
Slate Group
Inside Back Cover
Smoky Mountain Music Festival 12
Tennessee State University 17
Tennessee Technological University 36
University of Memphis 13
University of Tennessee at Chattanooga 7
University of Tennessee at Knoxville Bands 39
University of Tennessee at Knoxville School of Music 20
University of Tennessee at Martin 15
Yamaha Corporation of America 5
Tennessee Music Education Assocation | www.tnmea.org | 37

TMEA BACK THEN
• The cover of this particular issue of
the Tennessee Musician featured a
photograph of the Nashville All-City
Grade School Symphony Orchestra.
Started in 1950, the Nashville City
Schools (presumably) purchased over
100 violins, and then added cellos
and other instruments over the next
years. The ensemble, made up of 126
students ranging in ages between 9
and 14, met on Saturday’s and would
later be featured in a local television
production This is Nashville. The
ensemble performed in Nashville’s War
Memorial Auditorium. The instructional
staff included Arthur Kleine, Horace
C. Beasley, James Doster, Mary Laura
Cannon, Floyd H. Rogers, Howard
F. Brown, Marie Louise Farnham,
Mrs. Robert Johnson, Raymond
Gill, Lee Hillis, Jr., and D.F. Bain.
• Then conductor of the Nashville
Symphony Guy Taylor had an article
that detailed the upcoming plans and
season of the Nashville Symphony.
The article noted the organization of
the Nashville Symphony (at that time
the organization was governed by the
Nashville Civic Music Association)
and its subsequent other ensembles
including the Symphonette, Choral
Society, and Youth Orchestra. Among
the special plans of the season, Aaron
Copland was scheduled to appear at a
concert on April 28 and in subsequent
seminars held at Peabody College
(now Vanderbilt University). Howard
Hanson was also scheduled to appear as
an invited guest composer-conductor.
• State Music Consultant Alfred W.
Humphries, (presumably with the
Tennessee Department of Education)
contributed an article on the current
status of the Tennessee State-Wide
Music Program. This article is a
fascinating read, especially for its
historical account of the origins and
partnerships of this initiative with
several of Tennessee’s universities
and colleges and the Tennessee Music
Education Association.
• Then TMEA President N. Taylor Hagan,
of East Nashville High School, wrote a
rather eloquent message in his column.
Taylor made several observations
about the power of music education
and its role in American society. His
column referenced thinking of the day,
with calls for education to focus on
“moral and spiritual values.” He goes
on to discuss the State-Wide Music
Program, which was launched by the
Tennessee Department of Education
in 1948, with the goal, among many,
to give access to music education to
all students across Tennessee. Hagan
called the initiative “grassroots”,
advocating for more regional assistance
and support for the campaign.
• The city of Chattanooga was selected
as a host for the Southern Division
Conference of the Music Educators
National Conference (MENC - now
NAfME). The conference, which took
place on April 10-13, 1953, celebrated its
thirtieth anniversary. Edward Hamilton
of Knoxville City Schools and a pastpresident
of TMEA, served as Southern
Division President. According to the
press release, the Southern Division of
MENC was reported to have been first
organized at a meeting in Nashville,
Tennessee some thirty-years prior.
38 | TENNESSEE MUSICIAN | 2018 | Volume 71, No. 1
THE TENNESSEE MUSICIAN
(OCOTBER 1952)
Volume 5, No. 1 – 12 pgs.
N. Taylor Hagan, TMEA President | Floyd H. Rodgers, Editor

Celebrating 20 Years of
Commitment to Music Education
The NAMM Foundation’s Best Communities for Music Education
(BCME) national recognition program is in its 20th year of honoring schools
and districts that demonstrate a strong commitment to continuing
and growing their music education programs.
Get The National Recognition Your Music Program Deserves!
Apply by January 31, 2019 at NAMMFoundation.org/BCME
Photo Credit: Rob Davidson
NAMMFOUNDATION.ORG
NAMMF_20thBCME_TMEA_8x5.12Final.indd 1
9/7/18 4:55 PM
NAfME BACKPACK
Be ready for whatever the school year brings
with NAfME in your backpack!
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Tennessee Music Education Association
129 Paschal Drive
Murfreesboro, Tennessee 37128
Lipscomb University’s School of Music
welcomes new Director of Instrumental Studies Dr. Ben Blasko.
Dr. Ben Blasko
D.M.A. Wind Conducting
• Winner of the World Music Conducting
Competition in the United States - 2017
• Recording engineer for over 20 albums
• Compositions released on Klavier, Mark
Custom, Naxos and Sparrow Record Labels
For information about how your students
can train with us in Music City, email Ben at:
bablasko@lipscomb.edu.
Lipscomb University School of Music
615-966-5932
music@lipscomb.edu