An Interview with JaRod Hall

JaRod Hall is a tuba/euphonium teacher and composer based in the north San Antonio area whose music runs the gamut from hip hop influence to medieval, grade .5 to 5, and band to new music ensemble. 

A graduate of the University of North Texas and Texas State University, he brings the energy of the Texas band world, and a deep commitment to uplifting Black voices in repertoire, to everything he writes.

Q: How did you first discover your passion for composing?

My middle school band director showed me Sibelius when I was just 12, and I haven't stopped using it since!

Q: Who has shaped how you think about music?

My numerous teachers and friends: Nicholas Williams, Dennis Fisher, Ron McCurdy, Brad Leali, Alex Blue V, Jason Hausback, Caroline Beatty, Jack Wilds, Brian Balmages, Randall Standridge, Michael Ippolito, Eric Wood, Ben Katz, Jim McDaniel, Jim Moen, David Zarhndt, Don Little, Jan Kagarice, Cynthia Gonzales, Ludim Pedroza, Chris Bernotas, Michael Haithcock, Thomas Lee, Larry Livingston, Ron Carter, John Clayton, Wayne Bergeron, Sal Lozano, Jiggs Wigham, Erin Keeton-Howard, Brandon Jones, Scott Kennedy, Paul Schmidt, Patrick Nyren, Jeff Baker, Adam Koble, Clay Garrett, my mom, and my wife.

Q:What was the first piece you wrote that made you think, "I might actually be onto something here"?

Brigid's Cross.

Q: What's the hardest creative problem you've ever had to solve in your work, and how did you get through it?

Figuring out my own limitations and how to stretch beyond. When a new composition sounds incomplete or lacking, I think of Jack Wilds asking me the question: "hey this figure is really cool, but it never comes back… why?" Since then, whenever I run out of ideas, I repeat an idea I had before. Repetition informs structure.

Q: How has your compositional voice changed over the years? Is there anything you used to believe about writing music that you've since changed your mind on?

I used to write for others. Now I write for me!

Q: Do you have a favorite piece on Alfred.com? What was the spark behind it?

Contents May Be Hot! This is a piece I was stuck on for a long time that got better once I doubled down on my compositional ideas. I also sent about 14 versions of it back and forth between myself and the director who commissioned it, Robert Herrings. Together, we sculpted my most explosive work yet!

Q: If there was a soundtrack for your own life right now, what piece would it be?

Still Tippin' - Mike Jones.

Q: Where are you based, and how does your environment influence your work?

I live in Texas - band on steroids! The supercharged instrumental music scene here has helped me realize countless goals of mine with a strong network of colleagues and friends!

Q: How do you spend most of your working hours?

At this point in my career, I play as much as I teach, as much as I write. That's the dream!

Q: Where did you study, and how much of what you do today traces back to your formal training versus what you figured out on your own?

During my undergrad at UNT, I: sang in an Acapella group (Green Tones); was an officer of our chapter of Phi Mu Alpha Sinfonia Fraternity of America; played in the Wind Symphony, Concert Orchestra, Symphonic Band, 3 o'clock lab band, tuba choirs, trombone choirs, basketball pep band, and marching band. All of those experiences stick with me to this day! During my masters at Texas State, I also played in the Wind Symphony and experienced music I had never prepared before. After teaching middle schoolers every year of my career, this ensemble was vital in retuning my ears to the finer details of musicianship and heavier music.

Q: Did you grow up in a musical household, or did music find you some other way?

I used to watch the Backstreet Boys in concert on TV all the time. I used to know all the dance moves, lyrics, song differences between the albums and live shows… the whole thing! My mom would join in every now and then, too.

Q: How long have you been publishing with Alfred, and how did that relationship start?

Brian brought me over from FJH when he started MakeMusic Publications! I think I've learned the most from him both as a writer and arranger.

Q: Outside of composing, is there another role in music that's been just as central to who you are?

I'm a band director through and through - I spent years teaching in public school and I believe that educating is my highest calling. I currently teach tuba/euphonium lessons and masterclasses in the north San Antonio area. My students inspire me daily and I hope I do the same for them!

Q: How has the music education publishing world changed since you started, and how has that shaped what you write?

A great many people are writing a ton of tunes for all levels of musicianship now, which is way different from when I started. I've gotta stay on top of my game!

Q: What's a type of piece or repertoire gap you think the industry still hasn't figured out yet?

We've got a lot of work to do to uplift Black voices in the repertoire - including legitimizing all forms of music with roots in Black culture. My goal is to create a piece of music that reflects the lasting impact of Black musical traditions on contemporary music to an even greater extent than "You Better Sleigh" does.

Q: What do you want your body of work to add up to?

I want the total collection of all my past, present, and future works to run the gamut of musical diversity from hip hop influence to medieval; from grade .5 to 5; from band to new music ensemble; chamber to large group.

Q: Is there a favorite piece of yours that may not be your most popular work but resonates really strongly with you?

Brigid's Cross!

Browse JaRod's titles on Alfred Music and bring something meaningful to your next concert.

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