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91˛Öżâ Music

91˛Öżâ is home to a vibrant and thriving music program that offers students a wide range of opportunities to develop their musical talents, deepen their appreciation for music, and perform as part of a supportive Christian community. Through every aspect of the program, students are encouraged to cultivate their God-given gifts and use music to honor and glorify God. Our ensembles are open to all interested and qualified students. Learn about our ensembles, courses, private lesson opportunities, and more below.

 

Why Join Our Music Program?
  • Develop your God-given musical abilities through challenging opportunities within a supportive Christian environment.
  • Explore a wide range of ensembles and courses suited to your interests.
  • Gain valuable experience performing high-quality repertoire.
  • Learn from qualified and experienced instructors through private lessons and ensemble participation.
  • Use your musical gifts to serve others and bring honor and glory to God.

 

Discover more about our program through the links below!

 

Our Music Director

Andrés Mendoza is a Venezuelan-born conductor and music educator whose musical journey began with El Sistema. He received his musical training, specializing in oboe, at the Vicente Emilio Sojo Conservatory of Music and the Simón Bolívar Conservatory of Music. For more than a decade, he performed with orchestras in the country’s orchestral network, including the national orchestra, where he served as principal oboist and performed both at home and abroad.

Mr. Mendoza holds a Bachelor of Music in Music Education from Andrews University and a Master of Music in Conducting from Central Michigan University, where he studied instrumental and choral conducting. Since 2012, he has shared his passion for music through teaching, conducting, and performing across the United States and abroad. He also actively serves as a guest clinician at music festivals nationwide.

Mr. Mendoza currently serves as Music Director at 91˛Öżâ, where he teaches Music Appreciation and directs the Concert Choir, the Shenandoans, the Concert Band, and the Handbell Ensemble.

“It is with immense humility and a grateful heart that I strive to help musicians develop their God-given talents to the fullest and cultivate a deep love and appreciation for music as a powerful form of human expression and worship, while guiding them closer to Him.”

 

Our Associate Music Director 

Kelly Wiedemann JaĂ©n is a Shenandoah Valley native, musician, conductor, arranger, and educator. She is a proud third generation graduate of 91˛Öżâ and delighted to work at the place that ignited her interest in teaching music.

Mrs. Wiedemann Jaén holds a Bachelor of Music in Music Education from Washington Adventist University (formerly Columbia Union College) and a Master of Music in Music Education from James Madison University. She is a certified Suzuki Violin Instructor, plays violin, viola, piano, percussion, and also regularly creates arrangements, orchestrations, and compositions. She has performed, conducted, and served as guest clinician both locally and abroad. Outside of the classroom, she enjoys playing with the Waynesboro Symphony Orchestra.

Mrs. Wiedemann JaĂ©n currently serves as Associate Music Director at 91˛Öżâ, where she directs the String Ensemble and Orchestra and also teaches in the English Department. She is also the Associate Director of Red Wing Academy, a summer fiddle music camp here in the Shenandoah Valley.

“I am honored to have a role in both the musical and character development of our students. My passion is cultivating spaces for music of all styles and helping students become curious lifelong learners and well-rounded musicians. Music is a beautiful way to worship and grow spiritually, and I love working at a place where God has blessed us with cross-generational and cross-cultural communities.”

 

 

Concert Choir (1/4 Unit per Semester) - Faculty: Mr. Mendoza

A choral ensemble focused on vocal and musical development.

  • Membership: Audition required; open to interested students.
  • Performances: Members are expected to participate in all scheduled performances (refer to Performance Schedule).

 

Shenandoans (1/4 Unit per Semester) - Faculty: Mr. Mendoza

A touring choral ensemble that performs advanced choral music and collaborates with the orchestra.

  • Membership: Audition or invitation required.
  • Commitment: Membership is expected for the entire school year.
  • Co-requisite: Shenandoans are required to also participate in the Concert Choir.
  • Performances/Tours: Members are expected to participate in all scheduled performances/tours (refer to Performance Schedule).

 

String Ensemble (1/4 Unit per Semester) - Faculty: Mrs. Wiedemann Jaén

A dedicated group for string musicians seeking to enhance their skills.

  • Membership: Audition required; open to interested students.
  • Commitment: Membership is expected for the entire school year.
  • Requirements: Individual lessons are recommended and may be required for participation.
  • Performances: Members are expected to participate in all scheduled performances (refer to Performance Schedule).

 

Concert Band (1/4 Unit per Semester) - Faculty: Mr. Mendoza

A wind ensemble focused on developing instrumental proficiency and collaborative musicianship.

  • Membership: Audition required; open to interested students.
  • Commitment: Membership is expected for the entire school year.
  • Requirements: Individual lessons are recommended and may be required for participation.
  • Performances: Members are expected to participate in all scheduled performances (refer to Performance Schedule).

 

Orchestra (1/4 Unit per Semester) - Faculty: Mrs. Wiedemann Jaén

A touring instrumental ensemble that performs selections from the standard symphonic repertoire and collaborates with the choir.

  • Membership: Audition required.
  • Commitment: Membership is expected for the entire school year.
  • Co-requisite: Students must be members of the String Ensemble or Concert Band.
  • Requirements: Individual lessons are recommended and may be required for participation.
  • Performances/Tours: Members are expected to participate in all scheduled performances/tours (refer to Performance Schedule).

 

Handbell Ensemble (1/2 Unit per Semester) - Faculty: Mr. Mendoza

A select group performing advanced handbell music.

  • Membership: Audition required; prior handbell experience is preferred.
  • Commitment: Membership is expected for the entire school year.
  • Performances/Tours: Members are expected to participate in all scheduled performances and attend the annual RingFest in Toledo, Ohio (refer to Performance Schedule).

 

 

Music Appreciation (1/4 Unit per Semester) - Faculty: Mr. Mendoza

A comprehensive course covering the history of Western-Classical music.

  • Audience: Any student seeking to earn 1/4 unit toward their fine arts requirement.
  • Coursework: Includes extensive listening, in-class writing and journaling, and minimal work outside of class.

 

All music ensembles share the same formal performance uniform, creating a consistent and polished appearance that reflects the unity and excellence we seek to bring to every performance. Students and their families are responsible for providing all required uniform items.

 

Ladies' Formal Music Uniform

The black concert dress is a required style and must be purchased from the designated vendor using the link below. All other items may be purchased from any retailer, provided they meet the requirements listed below.

  • Required black dress —
  • Dress must be hemmed to 2 inches from the floor when worn with concert shoes
  • Solid-black dress shoes
  • Black sweater or cardigan (recommended)
  • Hosiery (recommended)

 

Gentlemen's Formal Music Uniform

Items for the gentlemen’s uniform may be purchased from any retailer, provided they meet the descriptions below.

  • Black dress shirt
  • Black dress pants
  • Black suit jacket
  • Black necktie (no bow tie)
  • Black dress socks
  • Black dress shoes

 

Auditions

Our auditions are designed to be straightforward, welcoming, and appropriate for high school musicians. Students of all experience and proficiency levels are encouraged to audition. They are not expected to perform every component perfectly; the purpose of the audition is simply to help us understand each student’s current abilities, musical strengths, and readiness for ensemble participation.

For most auditions, students will perform familiar material of their own choosing, such as a scale and short selections that demonstrate contrasting technical and musical abilities. Students may also be asked to sight-read a brief excerpt provided during the audition. Vocal, percussion, and handbell auditions include activities appropriate to those areas, as described below.

The audition requirements are explained in detail so that every student knows what to expect and has an equal opportunity to prepare. Although the descriptions are thorough, the audition process itself is brief and approachable. We hope students will view it not as something to fear, but as an opportunity to share their abilities and interest in making music with us.

Find audition details and requirements in the links below!

 

Choral Audition Purpose and Process

The purpose of this audition is to assess each student’s current vocal and musical abilities in a systematic, objective, consistent, and fair manner.

The same audition process and evaluation criteria are used when considering students for membership in the Concert Choir and the Shenandoans, our select choir. Audition results will help determine appropriate voice-part placement and ensemble participation.

Because space in each ensemble is limited, admission is based on the student’s overall audition performance and the vocal needs of the ensemble. Students who demonstrate the highest levels of vocal and musical proficiency may be invited to participate in the Shenandoans.

To support careful and consistent evaluation, all auditions are video recorded. These recordings allow the director to review each student’s performance thoroughly.

 

Choral Audition Components

Each audition consists of the following five components:

  1. Exploration of Vocal Range: The director will guide the student through a simple warm-up exercise designed to explore their vocal range. This will help determine the part the student may sing (i.e., Soprano, Alto, Tenor, or Bass).
  2. Vocal Quality Evaluation: The student will sing a solo of their choice to demonstrate vocal characteristics such as intonation, tone quality, and projection.
  3. * Music-Reading Evaluation (Sight-Reading): The student will be asked to sight-read a brief, simple passage of music after a minute of study.
  4. Aural Evaluation (Pitch Matching): The director will play a series of pitches on the piano, and the student will sing them back on a neutral syllable.
  5. Rhythmic Evaluation (Rhythm Matching): The director will play rhythmic patterns on the piano, and the student will reproduce them using a neutral syllable.

* The ability to read music is not required for acceptance into either ensemble. However, music-reading ability is considered alongside vocal quality and the other audition criteria. When students demonstrate comparable vocal ability, stronger music-reading skills may provide an advantage in the selection process. All students will therefore be given the same opportunity to complete the sight-reading portion of the audition, regardless of their previous musical training or experience.

 

 

String Audition Purpose and Process

The purpose of this audition is to assess each student’s current technical and musical abilities in a systematic, objective, consistent, and fair manner.

All string instrumentalists—including violin, viola, cello, and double bass players—complete the same audition process and are evaluated using the same criteria for membership in the String Ensemble and the Orchestra. Audition results will help determine ensemble participation, appropriate section or part assignments, and overall placement.

Because space in each ensemble is limited, admission is based on the student’s overall audition performance and the instrumentation needs of the ensemble. Students who demonstrate the highest levels of technical and musical proficiency may be invited to join the Orchestra.

To support careful and consistent evaluation, all auditions are video recorded. These recordings allow the director to review each student’s performance thoroughly.

 

String Audition Components

Each string instrument audition consists of the following four components:

  1. Major Scale Evaluation: The student will perform a major scale of their choice. It should be at least one octave, but can be up to three octaves. This will help the director evaluate the student’s current tone and intonation.
  2. Technical Ability Evaluation: The student will perform a fast excerpt or selection of their choice. This will help the director evaluate the student’s current technical ability.
  3. Musical Ability Evaluation: The student will perform a slow excerpt or selection of their choice. This will help the director evaluate the student’s current overall musical sensitivity.
  4. Music-Reading Evaluation (Sight-Reading): The student will be asked to sight-read a brief excerpt of music. This will help the director evaluate the student’s current overall ability to read music.

 

 

Woodwind & Brass Audition Purpose and Process

The purpose of this audition is to assess each student’s current technical and musical abilities in a systematic, objective, consistent, and fair manner.

All wind instrumentalists—including woodwind players (flute, oboe, clarinet, bassoon, etc.) and brass players (trumpet, horn, trombone, euphonium/baritone, tuba, etc.)—complete the same audition process and are evaluated using the same criteria for membership in the Concert Band and the Orchestra. Audition results will help determine ensemble participation, appropriate section or part assignments, and overall placement.

Because space in each ensemble is limited, admission is based on the student’s overall audition performance and the instrumentation needs of the ensemble. Students who demonstrate the highest levels of technical and musical proficiency may be invited to join the Orchestra.

To support careful and consistent evaluation, all auditions are video recorded. These recordings allow the director to review each student’s performance thoroughly.

 

Woodwind & Brass Audition Components

Each wind instrument audition consists of the following four components:

  1. Scale Evaluation: The student will perform a scale of their choice (at least one octave). This will help the director evaluate the student’s current tone and intonation.
  2. Technical Ability Evaluation: The student will perform a fast excerpt or selection of their choice. This will help the director evaluate the student’s current technical ability.
  3. Musical Ability Evaluation: The student will perform a slow excerpt or selection of their choice. This will help the director evaluate the student’s current overall musical sensitivity.
  4. Music-Reading Evaluation (Sight-Reading): The student will be asked to sight-read a brief excerpt of music. This will help the director evaluate the student’s current overall ability to read music.

 

 

Percussion Audition Purpose and Process

The purpose of this audition is to assess each student’s current rhythmic, technical, and musical abilities in a systematic, objective, consistent, and fair manner. Because percussionists are expected to perform on a variety of instruments, a strong foundation in rhythm reading is essential.

The snare drum serves as the foundation of percussion performance and provides an effective way to evaluate a student’s ability to read and perform written rhythms. For this reason, all percussion students must complete the audition on a snare drum supplied for the audition, unless they primarily or exclusively play keyboard percussion instruments, such as xylophone, marimba, or vibraphone.

The results of the percussion audition are used when considering students for membership in the Concert Band and the Orchestra. Audition results will help determine ensemble participation, appropriate instrument or part assignments, and overall placement.

Because space in each ensemble is limited, placement is based on the student’s overall audition performance and the instrumentation needs of the ensemble. Students who demonstrate the highest levels of rhythmic, technical, and musical proficiency may be invited to join the Orchestra.

To support careful and consistent evaluation, all auditions are video recorded. These recordings allow the director to review each student’s performance thoroughly.

 

Percussion Audition Component

Snare Drum Audition: All students auditioning on snare drum will perform the standardized percussion assessment provided below. The assessment contains multiple excerpts that begin with basic rhythmic patterns and become progressively more complex. Students will perform the excerpts in order and are encouraged to complete as many as they are able. Students are not expected to perform every excerpt. Because the excerpts increase in difficulty, how successfully a student progresses through the assessment will help the director understand their current rhythmic literacy and musical readiness. Audition results will help determine ensemble participation, appropriate part assignments, and overall placement.

Download percussion audition material here

 

Keyboard Percussion Component

Students whose primary or exclusive area of proficiency is keyboard percussion may audition on an appropriate keyboard percussion instrument rather than on snare drum. These students will be evaluated separately on their ability to read and perform written music, maintain a steady pulse, use appropriate playing technique, and demonstrate musical expression on their instrument.

This audition consists of the following four components:

  1. Scale Evaluation: The student will perform a scale of their choice (two octaves or more preferred). This will help the director evaluate the student’s current tone and intonation.
  2. Technical Ability Evaluation: The student will perform a fast excerpt or selection of their choice. This will help the director evaluate the student’s current technical ability.
  3. Musical Ability Evaluation: The student will perform a slow excerpt or selection of their choice. This will help the director evaluate the student’s current overall musical sensitivity.
  4. Music-Reading Evaluation (Sight-Reading): The student will be asked to sight-read a brief excerpt of music. This will help the director evaluate the student’s current overall ability to read music.

 

 

Handbell Audition Purpose and Process

The purpose of the handbell audition is to evaluate each student in a systematic, objective, consistent, and fair manner. Because handbell ringing is uniquely collaborative, the audition consists of two phases: an individual evaluation and a group evaluation.

Because space in the ensemble is limited, final selection is based on the student’s overall performance, as well as the musical and personnel needs of the ensemble. Advancing to the Phase 2 evaluation does not guarantee placement in the ensemble.

To support careful and consistent evaluation, all auditions are video recorded. These recordings allow the director to review each student’s performance thoroughly.

 

Handbell Audition Components

The handbell audition consists of the following two phases:

Phase 1—Individual Evaluation: All students will perform the standardized handbell assessment provided below. The assessment contains multiple excerpts that begin with basic pitch and rhythm notation and become progressively more complex. Students will perform the excerpts in order and are encouraged to complete as many as they are able. Because the excerpts increase in difficulty, how successfully a student progresses through the assessment will help the director understand their current music-reading ability, handbell technique, and readiness to perform with the ensemble. The results of this assessment will help determine which students are invited to advance to the group evaluation. Handbells will be supplied for the audition.

Download the Phase 1 audition material here

Phase 2—Group Evaluation: Students who advance beyond the individual evaluation will be invited to rehearse with the handbell ensemble. They will sight-read and perform an assigned part with the group. This phase will help the director evaluate the student’s ability to maintain an independent part, follow the director, listen across the ensemble, enter and release appropriately, adjust to the group, and contribute to a balanced and unified performance.

 

Private Lessons

Private lessons offer personalized instruction for developing instrumentalists, from beginners strengthening their foundational skills to advanced students refining their technique and musicianship. Through focused, one-on-one study with qualified and experienced instructors, students build the skills, confidence, and musical independence needed to contribute more fully to their ensembles and pursue their individual goals.

Recommended: Students who participate in performance ensembles are strongly encouraged to take private lessons.

Required for Select Ensembles: Participation in certain ensembles may require private lessons.

Explore the links below to learn more about our instructors! (more profiles coming soon!)

 

Piano - Aleksandra Velgosha is a Moscow-born pianist, educator, and collaborative artist with an active career in teaching and performance. She has performed throughout the United States and Europe and appeared as a soloist at the Port City Music Festival and the Staunton Music Festival.

Ms. Velgosha earned her Bachelor of Music in Piano Performance with honors from Washington Adventist University, where she studied with Dr. Mark Di Pinto, and her master’s degree from the University of Maryland under Professor Larissa Dedova. She is currently a doctoral candidate at James Madison University, studying with Dr. Gabriel Dobner. Her achievements include prizes in the E. R. Davis Piano Competition and the Crescendo Competition at Carnegie Hall.

Ms. Velgosha currently serves as adjunct faculty at James Madison University and Christopher Newport University and teaches piano at 91˛Öżâ. She has also taught at the University of Maryland, Richardson School of Music, Takoma Academy, and Chanson Music School. She founded JMU’s annual New Piano Music Project, which brings composers and pianists together to present new piano works to local communities.

 

Piano & Organ - Emily White is the owner of Plagal Bagel Music, a multifaceted endeavor that includes teaching private lessons, arranging and composing music, and performing at church services, weddings, and other events.

Ms. White received her Bachelor of Science in Music Theory and Literature from Southern Adventist University in December 2025. While in college, she was the timpanist for SAU’s orchestra, an active percussionist in the Wind Symphony, and a member of the Steel Band. She took private lessons in organ, voice, percussion, and cello and also took many pedagogy and composition classes. She presented a junior organ recital in February 2024 and presented her senior capstone in February 2025: Pretty Funny, a recital exploring the juxtaposition between gorgeous-sounding pieces and humorous music, for which she composed and performed over an hour’s worth of original music.

Through Plagal Bagel Music, Ms. White teaches percussion, piano, and organ at 91˛Öżâ.

 

 

Harp - Laura Hoffman is an accomplished harpist and music educator with 30 years of teaching and performing experience. She began studying music at age four through the Yamaha Music Education System, later adding formal piano lessons before discovering her passion for the harp.

Mrs. Hoffman earned a Bachelor of Fine Arts from Northern Arizona University and a Master of Music in Harp Performance from the University of Redlands. She has served as harpist with regional orchestras throughout Arizona, California, Maryland, and Virginia. She also writes and arranges music for solo harp and harp ensemble.

Mrs. Hoffman currently teaches private harp lessons at 91˛Öżâ, where students have access to a 40-string Salvi Daphne pedal harp. She also teaches music at Shenandoah Valley Adventist Elementary School and serves as music director at Bethel Church of the Brethren. An active soloist and ensemble musician, she performs throughout the Shenandoah Valley and Northern Virginia–Washington metropolitan area on a Salvi Aurora concert harp.

 

 

Violin - Zachary Windsor is a multifaceted musician and instructor specializing in violin. His performance experience includes serving as a section violinist with the Roanoke Symphony and as acting concertmaster of the Waynesboro Symphony. He has also performed with orchestras, opera companies, festivals, and choral ensembles throughout the region.

Mr. Windsor earned a Bachelor of Music in Performance, summa cum laude, from Shenandoah Conservatory in 2015 and a Master of Music in Performance in 2020. He is certified by the Suzuki Association of the Americas in Every Child Can! and Suzuki Books 1 and 2. His additional experience includes serving as adjunct violin professor at Bridgewater College, strings director for Harrisonburg City Public Schools, and an adjudicator and teacher for Spring String Thing.

Mr. Windsor currently performs with regional ensembles and teaches students of various ages and skill levels in private and group settings. In addition to teaching violin at 91˛Öżâ, he teaches through his home studio, Rocktown House of Music, and Red Wing Academy. His teaching and performance work encompasses both classical and fiddle music.

 

Cello - Ethan Wagner (Bio and profile photo coming soon!)

 

 

Trumpet - Allie Woodbury is a trumpeter and music educator with experience teaching students from beginner through collegiate levels. As an educator, she has taught private lessons in Virginia and Kentucky and has worked with students in settings that include grade schools, universities, summer camps, and ensemble coaching. Her performance experience includes orchestral, wind ensemble, brass band, brass quintet, contemporary music, musical theater, and solo performances throughout the United States and in Bulgaria, Canada, England, and Greece.

Ms. Woodbury is currently pursuing a Doctor of Musical Arts in Trumpet Performance, Pedagogy, and Literature at James Madison University, where she serves as a graduate teaching assistant and brass techniques instructor. She holds a Master of Music in Trumpet Performance and a Graduate Certificate in Baroque Trumpet from the University of Kentucky, as well as a Bachelor of Music in Trumpet Performance from JMU.

In addition to teaching trumpet at 91˛Öżâ, Ms. Woodbury is an adjunct instructor of trumpet at Bridgewater College and maintains a private studio in the Shenandoah Valley.

 

Low Brass: Trombone, Euphonium/Baritone, Tuba - Sawyer Gage is a composer and music educator based in Virginia’s Shenandoah Valley. His compositions span works for solo instruments, chamber groups, and wind ensembles and have been performed throughout the southeastern United States. Inspired by fantasy literature and visual art, he uses harmony and timbre to create vivid musical colors that evoke story and imagery.

Mr. Gage earned a Master of Music in Composition from James Madison University, where he studied with Dr. Eric Guinivan and Dr. Jason Haney. He began studying composition at age 22 after completing his undergraduate studies at Troy University in Alabama, where he studied euphonium with Dr. Robert Pendergast. His musical influences include composers such as Claude Debussy and Joseph Schwantner.

Mr. Gage has served as an adjunct faculty member at James Madison University and the Baptist University of Florida. He continues to compose and teach in the Shenandoah Valley, sharing his experience as a composer, educator, and trained euphonium player with his students.

 

 

Percussion - Emily White is the owner of Plagal Bagel Music, a multifaceted endeavor that includes teaching private lessons, arranging and composing music, and performing at church services, weddings, and other events.

Ms. White received her Bachelor of Science in Music Theory and Literature from Southern Adventist University in December 2025. While in college, she was the timpanist for SAU’s orchestra, an active percussionist in the Wind Symphony, and a member of the Steel Band. She took private lessons in organ, voice, percussion, and cello and also took many pedagogy and composition classes. She presented a junior organ recital in February 2024 and presented her senior capstone in February 2025: Pretty Funny, a recital exploring the juxtaposition between gorgeous-sounding pieces and humorous music, for which she composed and performed over an hour’s worth of original music.

Through Plagal Bagel Music, Ms. White teaches percussion, piano, and organ at 91˛Öżâ.

 

“Let every thing that hath breath praise the LORD. Praise ye the LORD.”

— Psalm 150:6 KJV