1 00:00:00,000 --> 00:00:10,840 Welcome to our podcast, Band BFFs. 2 00:00:10,840 --> 00:00:14,280 The podcast where we make your music selection less complicated. 3 00:00:14,280 --> 00:00:20,280 Today's episode we are going to be discussing Dance Celebration by Robert W. Smith. 4 00:00:20,280 --> 00:00:23,480 Cheers to starting the conversation! 5 00:00:23,480 --> 00:00:28,840 Alright this piece, this very popular piece, is in the key of concert B flat, four four 6 00:00:28,840 --> 00:00:30,160 time throughout. 7 00:00:30,160 --> 00:00:34,720 It's a really fast tempo but the style is really more flowing all the way throughout. 8 00:00:34,720 --> 00:00:37,440 It's about two minutes long. 9 00:00:37,440 --> 00:00:40,440 No split parts at all. 10 00:00:40,440 --> 00:00:43,400 Everything is a single part throughout. 11 00:00:43,400 --> 00:00:48,080 Lots of percussion considerations in here and all of the percussion parts are really 12 00:00:48,080 --> 00:00:51,800 important so you want to make sure that you have all of those covered. 13 00:00:51,800 --> 00:00:53,040 Absolutely. 14 00:00:53,040 --> 00:01:01,840 There is no major snare drum parts here at the very beginning and really no major percussion 15 00:01:01,840 --> 00:01:07,560 so your students really have to learn from the beginning to watch and internalize the 16 00:01:07,560 --> 00:01:08,560 pulse. 17 00:01:08,560 --> 00:01:12,960 Again that's really important because it is a faster paced piece. 18 00:01:12,960 --> 00:01:17,480 You do have to cover the bells part in Dance Celebration. 19 00:01:17,480 --> 00:01:22,480 It is very important over and over and it comes back and it is not doubled by upper 20 00:01:22,480 --> 00:01:26,120 woodwinds like in some other pieces. 21 00:01:26,120 --> 00:01:30,280 As Laura said, try to make sure everything is covered even if one student has to cover 22 00:01:30,280 --> 00:01:33,320 two different things. 23 00:01:33,320 --> 00:01:37,600 As we're getting to the beginning we're starting off and we have just the woodwinds and then 24 00:01:37,600 --> 00:01:42,920 when the brass enter in we're starting mezzo-piano, doing a little bit of a crescendo and then 25 00:01:42,920 --> 00:01:44,640 coming back down. 26 00:01:44,640 --> 00:01:49,160 Sometimes when I play this with my band the kids have gotten really excited about the 27 00:01:49,160 --> 00:01:54,120 crescendo and they kind of go overboard and it sounds not as good as it could. 28 00:01:54,120 --> 00:01:58,640 Make sure you teach from the very beginning maybe using numbers to talk about your dynamic 29 00:01:58,640 --> 00:01:59,640 contrast. 30 00:01:59,640 --> 00:02:06,360 We're going to start at a level 3 and we're going to do 3, 4, 5, 6, 5, 4, 3. 31 00:02:06,360 --> 00:02:09,360 This piece is so great for teaching dynamics. 32 00:02:09,360 --> 00:02:13,280 You can do that on your daily exercises with your band. 33 00:02:13,280 --> 00:02:18,320 You can just play a concert F for 8 counts and practice doing a little crescendo and 34 00:02:18,320 --> 00:02:23,360 then a little day crescendo so everybody feels confident in that because they all have that 35 00:02:23,360 --> 00:02:25,400 at measures 3 and 4. 36 00:02:25,400 --> 00:02:32,640 Never lose sight of the tuba being the most important part to be heard, not the long flute 37 00:02:32,640 --> 00:02:34,760 part up top. 38 00:02:34,760 --> 00:02:40,520 One of the things that I think in this piece, really this is general for anything, but in 39 00:02:40,520 --> 00:02:44,480 this piece specifically, Katie's talking about using that number system. 40 00:02:44,480 --> 00:02:46,160 I think that's really important. 41 00:02:46,160 --> 00:02:51,760 You can end up having what you think are tuning issues when your students are playing these 42 00:02:51,760 --> 00:02:52,760 crescendos. 43 00:02:52,760 --> 00:02:55,480 They really are not tuning issues. 44 00:02:55,480 --> 00:03:01,240 They're balance issues with people that are on the third of the chord crescendoing way 45 00:03:01,240 --> 00:03:04,600 more than people that are on the root of the chord. 46 00:03:04,600 --> 00:03:08,160 That can sometimes sound like a tuning problem when it's not. 47 00:03:08,160 --> 00:03:10,520 It is a balance issue. 48 00:03:10,520 --> 00:03:16,480 Using the kids to balance down to that low tuba sound, the root of the chord can really 49 00:03:16,480 --> 00:03:18,160 help fix that from the beginning. 50 00:03:18,160 --> 00:03:19,160 Absolutely. 51 00:03:19,160 --> 00:03:25,720 And just to note, trumpets do have a lot of Ds like at measure 4 for instance. 52 00:03:25,720 --> 00:03:29,200 So they must kick so that that can be better in tune. 53 00:03:29,200 --> 00:03:33,840 Clarinets are chilling on a G. They need to use resonance fingerings either by completely 54 00:03:33,840 --> 00:03:37,040 right hand down or whatever will make them be better in tune. 55 00:03:37,040 --> 00:03:41,800 That's really important to take note of like Laura said to make sure that we sound equal 56 00:03:41,800 --> 00:03:42,960 here. 57 00:03:42,960 --> 00:03:47,640 At measure 7, the bells are very important again and all alone on that part. 58 00:03:47,640 --> 00:03:51,080 So you do have to have somebody play that for sure. 59 00:03:51,080 --> 00:03:55,200 You'll want to talk to your students about when they have these long notes tied across 60 00:03:55,200 --> 00:03:58,000 the bar line like in flute and clarinet. 61 00:03:58,000 --> 00:04:01,960 You'll want to talk about stagger breathing and how to do that to make sure that you plan 62 00:04:01,960 --> 00:04:02,960 it out for them. 63 00:04:02,960 --> 00:04:10,160 Laura and I believe in taking our students' parts before we pass out for any concert and 64 00:04:10,160 --> 00:04:15,120 we will mark up the part for them like if they have accidentals to think about or like 65 00:04:15,120 --> 00:04:19,840 flutes need to be on the thumb B flat side just to name a couple little small things. 66 00:04:19,840 --> 00:04:23,880 This would be a good opportunity for you to say like if you're getting, you're the A 67 00:04:23,880 --> 00:04:29,000 breather and you're the B breather, A's are going to breathe in measure 6, B's are going 68 00:04:29,000 --> 00:04:30,920 to breathe in measure 7. 69 00:04:30,920 --> 00:04:36,760 That creates a seamless longer sound and that way the kids don't all breathe on bar lines 70 00:04:36,760 --> 00:04:42,120 which of course is the MO for everybody in band. 71 00:04:42,120 --> 00:04:45,920 And then we're doing another crescendo, day crescendo here at 7 and 8. 72 00:04:45,920 --> 00:04:49,400 You do want to make sure kids articulate firmly enough that you can hear that there are two 73 00:04:49,400 --> 00:04:53,880 half notes here instead of two whole notes but not overdoing it. 74 00:04:53,880 --> 00:04:56,160 It should still be seamless. 75 00:04:56,160 --> 00:04:59,760 Then at 9 we have the beginning, we have the same thing as the beginning but then trumpets 76 00:04:59,760 --> 00:05:01,480 come in one measure later. 77 00:05:01,480 --> 00:05:06,280 So make sure trumpets play that confidently and again remember to kick on their D's and 78 00:05:06,280 --> 00:05:13,240 maybe even making sure that they're balancing to the woodwinds and not overplaying them. 79 00:05:13,240 --> 00:05:18,760 And then at 11 we have our first split parts where the higher people keep going and lows 80 00:05:18,760 --> 00:05:20,760 have something different. 81 00:05:20,760 --> 00:05:26,560 We want to make sure that if they do have the long note like at 11 in the flute oboe trumpet 82 00:05:26,560 --> 00:05:34,280 that they're playing underneath the new part which would be the horn, sax, trombone, euphonium. 83 00:05:34,280 --> 00:05:39,040 Still no tuba here so you want to make sure that those parts are being the focal point 84 00:05:39,040 --> 00:05:41,280 and everybody else plays underneath them. 85 00:05:41,280 --> 00:05:46,680 And then flutes, we would teach that they will release on beat one with oboe and clarinet 86 00:05:46,680 --> 00:05:50,120 of measure 12 and take a breath mark there. 87 00:05:50,120 --> 00:05:58,040 1, 2, 3, 4, 1, so that way it's like a very obvious movement together in measure 12. 88 00:05:58,040 --> 00:06:01,480 Now right there at measure 12 and I'm sorry Katie I just wanted to jump in with this. 89 00:06:01,480 --> 00:06:06,080 Right there at measure 12 those horns are sitting on a third space C. Everyone who has 90 00:06:06,080 --> 00:06:09,360 that long note is on a unison concert F there. 91 00:06:09,360 --> 00:06:14,240 So if your horns are having trouble hitting that C I would either take my horns out of 92 00:06:14,240 --> 00:06:15,480 that note. 93 00:06:15,480 --> 00:06:20,320 You might put them down an octave but that's a pretty big skip going from a third line 94 00:06:20,320 --> 00:06:23,400 B flat down to a C below the staff. 95 00:06:23,400 --> 00:06:27,840 So you might just leave your horns out or if there's one horn that can play it well 96 00:06:27,840 --> 00:06:32,440 then have them do that but because that note is unison and all of those whole notes you 97 00:06:32,440 --> 00:06:35,400 want to make sure that it's secure and confident. 98 00:06:35,400 --> 00:06:38,440 So don't be afraid to modify that if you need to. 99 00:06:38,440 --> 00:06:43,400 And your alto sax is on a D in that exact same chord so make sure they're using the left 100 00:06:43,400 --> 00:06:47,360 hand B key to bring the pitch down on that D as well. 101 00:06:47,360 --> 00:06:49,160 And then that is hard in the horn. 102 00:06:49,160 --> 00:06:52,120 Every time we've played this man we've had to work with our horns a lot because they're 103 00:06:52,120 --> 00:06:56,560 coming from the third space C all the way down to a D. They already have to do that 104 00:06:56,560 --> 00:06:57,960 in measure 13. 105 00:06:57,960 --> 00:07:03,120 So just isolating or you know letting that be like an alto solo and not having your horns 106 00:07:03,120 --> 00:07:06,400 play if you have horns that's a consideration. 107 00:07:06,400 --> 00:07:11,800 We have another important bell part at 14 all by themselves. 108 00:07:11,800 --> 00:07:15,360 They have a little solo so just you know make a big deal out of them. 109 00:07:15,360 --> 00:07:18,200 Bells don't normally get to you know have something fun. 110 00:07:18,200 --> 00:07:23,520 And then we all have a crescendo coming into 17 which is where the piece stylistically 111 00:07:23,520 --> 00:07:25,280 kind of changes a bit. 112 00:07:25,280 --> 00:07:27,600 Don't overdo the crescendo. 113 00:07:27,600 --> 00:07:31,600 Everybody again maybe use the number system so that we don't go too loud and again balance 114 00:07:31,600 --> 00:07:32,600 down to the tuba. 115 00:07:32,600 --> 00:07:38,560 The snare drum finally enters and provides the pulse for the next little section. 116 00:07:38,560 --> 00:07:44,240 Alright so when we get to 17 now one of my favorite tricks well I say tricks I think 117 00:07:44,240 --> 00:07:46,760 it's just a good teaching strategy. 118 00:07:46,760 --> 00:07:53,120 When working on any piece is to create a melody sheet for the entire band. 119 00:07:53,120 --> 00:07:54,120 Love that. 120 00:07:54,120 --> 00:07:59,120 So I like to take you know if there's one or two maybe it is a melody line maybe it's 121 00:07:59,120 --> 00:08:04,520 an accompaniment line and you write it out for everyone in the band that way even your 122 00:08:04,520 --> 00:08:08,800 tubas that may just be sitting there playing some long notes or whatever most of the time 123 00:08:08,800 --> 00:08:11,200 get a chance to move around a little bit. 124 00:08:11,200 --> 00:08:16,360 It gives you an opportunity to teach style, write notes, rhythms, note links to the band 125 00:08:16,360 --> 00:08:19,280 as a whole before applying it to the piece. 126 00:08:19,280 --> 00:08:24,800 Now looking at what happens at 17 this is a classic example of where I think a melody 127 00:08:24,800 --> 00:08:26,760 sheet would be really awesome. 128 00:08:26,760 --> 00:08:32,320 This accompaniment line that you have at 17 the tendency is for people to play these 129 00:08:32,320 --> 00:08:39,120 notes too short dot dot dot and we want full body of sound resonance here and again when 130 00:08:39,120 --> 00:08:43,080 you put that in a melody sheet and you can practice the whole band playing all of this 131 00:08:43,080 --> 00:08:46,160 together it really really is beneficial. 132 00:08:46,160 --> 00:08:50,720 And I like how he also writes it with the accent on beat 3. 133 00:08:50,720 --> 00:08:56,960 Da da da da da da. 134 00:08:56,960 --> 00:09:01,600 And we teach the kids to make that be a full value quarter note all the way to the rest. 135 00:09:01,600 --> 00:09:03,480 Everyone touches silence every time. 136 00:09:03,480 --> 00:09:09,600 The bells and the timpani or low tom if you don't have timpani are super important here. 137 00:09:09,600 --> 00:09:14,760 They are going opposite of what the wind players are doing so making sure that the percussionists 138 00:09:14,760 --> 00:09:17,840 and the wind players feel really secure with that. 139 00:09:17,840 --> 00:09:23,000 Once we get to measure 21 clarinets get to take over the melody here which is awesome. 140 00:09:23,000 --> 00:09:28,080 Alright so clarinets playing big full strong the accompaniment part needs to back down 141 00:09:28,080 --> 00:09:30,920 which it is written dynamically for them to back off. 142 00:09:30,920 --> 00:09:33,560 We might tell them to go lower than even mezzo. 143 00:09:33,560 --> 00:09:36,440 Exactly and you may even have to thin some of those parts out. 144 00:09:36,440 --> 00:09:40,640 You may have to take some players out in order to make sure that you hear the clarinets. 145 00:09:40,640 --> 00:09:46,520 I tell my students all the time that a score is a recipe and I'm the chef. 146 00:09:46,520 --> 00:09:51,800 Now this is like making music is not like baking which is a very precise science. 147 00:09:51,800 --> 00:09:54,240 You have to use the exact right measurements. 148 00:09:54,240 --> 00:09:59,560 This is like creating a meal and I have to use the ingredients I have in front of me. 149 00:09:59,560 --> 00:10:04,440 So this piece was written for certain instrumentation and we may not have that exact instrumentation 150 00:10:04,440 --> 00:10:10,520 and me as the chef I get to kind of tweak the recipe for the ingredients that I have 151 00:10:10,520 --> 00:10:11,760 and kids understand that. 152 00:10:11,760 --> 00:10:13,440 They understand that analogy. 153 00:10:13,440 --> 00:10:17,760 So if you only have three or four clarinets you may need to thin out the alto saxophone 154 00:10:17,760 --> 00:10:18,760 part. 155 00:10:18,760 --> 00:10:19,760 Because we're going to for sure have a billion saxes. 156 00:10:19,760 --> 00:10:22,320 That's exactly how it always goes. 157 00:10:22,320 --> 00:10:23,320 Exactly that's right. 158 00:10:23,320 --> 00:10:29,760 Alright so this continues on with the same type of thematic element until you get to 159 00:10:29,760 --> 00:10:30,760 29. 160 00:10:30,760 --> 00:10:35,920 And here at 29 we're continuing again and we're adding in the flutes to join in with 161 00:10:35,920 --> 00:10:37,400 the clarinets. 162 00:10:37,400 --> 00:10:41,520 So what I've told my flutes in the past is now you get to take over and be the star of 163 00:10:41,520 --> 00:10:42,520 the show. 164 00:10:42,520 --> 00:10:47,960 Clarinets you're the supporting actor back off a tiny bit and then oboe goodness gracious. 165 00:10:47,960 --> 00:10:52,480 I remember last time I played this the poor little oboes could not fit into the band here 166 00:10:52,480 --> 00:10:53,680 very easily. 167 00:10:53,680 --> 00:10:58,160 So maybe like only have one oboe play this part or maybe like don't have them play at 168 00:10:58,160 --> 00:11:00,320 all if you have really loud oboes. 169 00:11:00,320 --> 00:11:04,000 That just might be something to consider just speaking from personal experience. 170 00:11:04,000 --> 00:11:06,240 Or you can alternate two or four measure phrases. 171 00:11:06,240 --> 00:11:07,240 That's a great idea. 172 00:11:07,240 --> 00:11:10,640 If you have two oboes maybe one place two measures one place the next two measures. 173 00:11:10,640 --> 00:11:15,440 Yep and trumpets come in too so remind them not to come in any louder than the flutes. 174 00:11:15,440 --> 00:11:17,880 The flutes get to be the new star of the show. 175 00:11:17,880 --> 00:11:23,400 The tambourine also adds in at 29 and that's the driving pulse behind the band. 176 00:11:23,400 --> 00:11:28,720 So just ensure that they come out and timpani and bells should have backed down as well 177 00:11:28,720 --> 00:11:32,040 whenever the clarinets entered a while back. 178 00:11:32,040 --> 00:11:37,320 And then this is also again a great opportunity to continue making sure you hear that accent 179 00:11:37,320 --> 00:11:38,640 on beat three. 180 00:11:38,640 --> 00:11:44,680 That's kind of a cool thing that was written in that I think sometimes bands don't always 181 00:11:44,680 --> 00:11:46,680 make happen whenever I'm judging them. 182 00:11:46,680 --> 00:11:48,680 So that's a cool thing to hear. 183 00:11:48,680 --> 00:11:53,200 We want to make sure that in the melody they're doing the tongue slur tongues correctly. 184 00:11:53,200 --> 00:11:57,160 This is definitely a spot where flutes will like to slur too much. 185 00:11:57,160 --> 00:12:01,160 Ta ta ta ta ta ta ta. 186 00:12:01,160 --> 00:12:02,640 That is not correct. 187 00:12:02,640 --> 00:12:06,560 So you need to make sure they do ta ta ta ta. 188 00:12:06,560 --> 00:12:11,160 And again when we're writing in the parts for the kids to make sure that they're successful 189 00:12:11,160 --> 00:12:16,320 we would take the opportunity to write TST on those spots to make sure that the kids 190 00:12:16,320 --> 00:12:20,280 are definitely articulating that correctly. 191 00:12:20,280 --> 00:12:23,160 Now we're going to build again into 37. 192 00:12:23,160 --> 00:12:29,840 This is our first big moment for the piece and timpani and snare drum are really going 193 00:12:29,840 --> 00:12:33,160 to help us drive into 37. 194 00:12:33,160 --> 00:12:41,880 And once we get to 37 this is the like the first big moment for the full ensemble. 195 00:12:41,880 --> 00:12:42,880 Right. 196 00:12:42,880 --> 00:12:49,000 So this part in the horns, well first of all we want to make sure we all arrive together, 197 00:12:49,000 --> 00:12:50,320 clear articulation. 198 00:12:50,320 --> 00:12:56,160 We have a concert B flat chord that you land on right here and some of our like the altos 199 00:12:56,160 --> 00:12:59,880 in the horns are on the third of the chord. 200 00:12:59,880 --> 00:13:01,320 Like Katie talked about before. 201 00:13:01,320 --> 00:13:06,120 I know this goes by really fast but you still want to make sure that that chord is going 202 00:13:06,120 --> 00:13:07,800 to be nice and in tune. 203 00:13:07,800 --> 00:13:12,840 You may want to have the altos add the their B or I'm sorry their it's concert B. 204 00:13:12,840 --> 00:13:13,840 Sorry. 205 00:13:13,840 --> 00:13:16,160 The horns, this is a big thing. 206 00:13:16,160 --> 00:13:17,480 I have my horns. 207 00:13:17,480 --> 00:13:23,480 I would go player by player on this but this whole section from 37 to 48 they can play 208 00:13:23,480 --> 00:13:26,000 on the non-trigger side of the horn. 209 00:13:26,000 --> 00:13:31,440 So they can play it on the F side of the horn and often for most of my horn players that 210 00:13:31,440 --> 00:13:35,680 will be more in tune than playing it on the B flat side of the horn. 211 00:13:35,680 --> 00:13:40,160 So again I would go player by player to find out what's going to be the most in tune for 212 00:13:40,160 --> 00:13:46,160 them and then have them mark that in their part and do that whether they're using trigger 213 00:13:46,160 --> 00:13:47,720 or not using trigger. 214 00:13:47,720 --> 00:13:51,440 And then in the low brass man we have lots of A naturals here. 215 00:13:51,440 --> 00:13:55,480 This is going to be really important that your low brass feel really confident on those 216 00:13:55,480 --> 00:13:56,480 A naturals. 217 00:13:56,480 --> 00:14:02,480 I preach to my trombone players one inch of silver and inch of silver on those A naturals. 218 00:14:02,480 --> 00:14:05,920 So when they go to that second position they should not see more than an inch of silver. 219 00:14:05,920 --> 00:14:10,640 That second position is way closer to first than it is to third and that may be something 220 00:14:10,640 --> 00:14:15,480 that you have to slow down and spend some time on to lock in that tuning. 221 00:14:15,480 --> 00:14:21,880 And one of my favorite people in life, Mike Beavers once told me that second position 222 00:14:21,880 --> 00:14:24,640 is closer to first than it is to third. 223 00:14:24,640 --> 00:14:29,160 And when you say that to students over and over that really does help with the A natural 224 00:14:29,160 --> 00:14:31,920 tuning and that is a big deal in this piece. 225 00:14:31,920 --> 00:14:39,160 All we're talking about this horn and alto part at 37 so horn is going to the high C, 226 00:14:39,160 --> 00:14:41,360 alto is going to D add the B key. 227 00:14:41,360 --> 00:14:42,360 There's that B key. 228 00:14:42,360 --> 00:14:45,000 Clarinet is all over the throat tones here. 229 00:14:45,000 --> 00:14:50,080 This is just a recipe for bad tuning if we're not thinking about what we need to do. 230 00:14:50,080 --> 00:14:52,960 So clarinets need to have their right hand down. 231 00:14:52,960 --> 00:14:57,120 They need to be thinking if that's necessary to make them be in tune. 232 00:14:57,120 --> 00:14:59,400 Saxes need to make sure that they're not sharp. 233 00:14:59,400 --> 00:15:01,000 Horn needs to make sure that they're not sharp. 234 00:15:01,000 --> 00:15:07,040 So this is a great place to isolate all those parts together and hear the lines and make 235 00:15:07,040 --> 00:15:08,640 sure that students aren't sticking out. 236 00:15:08,640 --> 00:15:13,640 Like Laura said, thinking about ways to make them sound just as seamless as possible. 237 00:15:13,640 --> 00:15:17,240 And flutes right here, we're coming from 36 to 37. 238 00:15:17,240 --> 00:15:19,360 They have to do an octave jump. 239 00:15:19,360 --> 00:15:24,720 So just make sure you're working on them getting the B flat out correctly with their 240 00:15:24,720 --> 00:15:28,440 air and not over blowing to make the high B flat come out. 241 00:15:28,440 --> 00:15:32,320 Otherwise it will be sharp and again mess up your chord tuning. 242 00:15:32,320 --> 00:15:35,560 And depending on how many flutes you have, I might split my section and have half of 243 00:15:35,560 --> 00:15:39,680 my flutes up and half of my flutes down an octave just to help with some of that tuning. 244 00:15:39,680 --> 00:15:42,400 And don't let them breathe from 36 to 37. 245 00:15:42,400 --> 00:15:47,280 I know that sounds really silly, but you know, they like to breathe on bar lines and that's 246 00:15:47,280 --> 00:15:48,280 a pivotal moment. 247 00:15:48,280 --> 00:15:49,640 So don't let them do it. 248 00:15:49,640 --> 00:15:56,600 This whole section from 37 to 45, almost every measure has an accent on beat one for all 249 00:15:56,600 --> 00:15:58,760 of the wind players and the percussion. 250 00:15:58,760 --> 00:16:02,360 We want to make sure that we hear that, that that accent is really coming through. 251 00:16:02,360 --> 00:16:07,040 We're emphasizing beat one for everybody throughout that whole section. 252 00:16:07,040 --> 00:16:12,160 And then make sure that we catch in the snare part that they need to turn the snares off 253 00:16:12,160 --> 00:16:16,960 as they are transitioning into this new idea at 45. 254 00:16:16,960 --> 00:16:22,000 And real quick, looking back at 40, Timpani get to have this really cool part coming into 255 00:16:22,000 --> 00:16:24,480 41 or low tom, whichever one you're using. 256 00:16:24,480 --> 00:16:28,040 So just make sure you see those like really isolated percussion parts. 257 00:16:28,040 --> 00:16:30,800 Again, they're very important on this piece. 258 00:16:30,800 --> 00:16:34,880 So coming into 45, this is literally just a recap. 259 00:16:34,880 --> 00:16:39,000 Now we have Flute and Trumpet on melody and the oboe and the clarinet are the secondary 260 00:16:39,000 --> 00:16:40,000 part. 261 00:16:40,000 --> 00:16:43,400 They need to play softer and not play louder than the melody here. 262 00:16:43,400 --> 00:16:44,640 They come to that line. 263 00:16:44,640 --> 00:16:45,640 Same thing. 264 00:16:45,640 --> 00:16:48,400 We're just continuing to make sure we have full value low notes. 265 00:16:48,400 --> 00:16:53,240 If you have a little bit of a weaker low brass and low reed section, this piece is pretty 266 00:16:53,240 --> 00:16:59,320 good for you because they don't have a lot of exposed melody until we get to measure 267 00:16:59,320 --> 00:17:00,320 53. 268 00:17:00,320 --> 00:17:05,000 They have what I call their moment in the sunshine here and they get two measures of 269 00:17:05,000 --> 00:17:06,280 an important part. 270 00:17:06,280 --> 00:17:07,680 But that's not bad, right? 271 00:17:07,680 --> 00:17:11,520 Like you can spend some time in that making sure that they sound really nice. 272 00:17:11,520 --> 00:17:15,000 I'm getting their G's in tune at the end of 54. 273 00:17:15,000 --> 00:17:16,520 But that's that's it. 274 00:17:16,520 --> 00:17:17,840 That's it for your low people. 275 00:17:17,840 --> 00:17:24,920 So if you again don't have the most incredibly amazing parts for your low people, this is 276 00:17:24,920 --> 00:17:28,320 good because it's very rarely do they have the important things. 277 00:17:28,320 --> 00:17:32,560 Now watch out in the accompaniment here in the low voices, Tenor Berry, all of that in 278 00:17:32,560 --> 00:17:33,560 the low brass. 279 00:17:33,560 --> 00:17:40,520 Watch out that they the tendency for them is going to be in this part to go one rest, 280 00:17:40,520 --> 00:17:44,520 rest, rest, rest, dah, dah. 281 00:17:44,520 --> 00:17:46,440 They're not going to play those notes equal lengths. 282 00:17:46,440 --> 00:17:50,560 So make sure that all of those quarter notes are equal length. 283 00:17:50,560 --> 00:17:54,720 Four, one, two, three, four, three, four, one. 284 00:17:54,720 --> 00:17:57,800 They're going to want to make the last note of that shorter than everything else. 285 00:17:57,800 --> 00:18:00,720 So make sure that you don't allow them to do that. 286 00:18:00,720 --> 00:18:01,720 Yes. 287 00:18:01,720 --> 00:18:05,440 And then going on, we have another little crescendo coming into 57. 288 00:18:05,440 --> 00:18:08,080 And then we get this really cool moment here. 289 00:18:08,080 --> 00:18:09,080 Yeah. 290 00:18:09,080 --> 00:18:13,920 So at 57, this is a cool staggered entrance where we all have the same idea. 291 00:18:13,920 --> 00:18:15,960 One, two, three and four. 292 00:18:15,960 --> 00:18:20,480 And I, when you have these long tied notes, again, you're going to have to, for some of 293 00:18:20,480 --> 00:18:23,200 the parts, you may have to mark in some staggered breathing. 294 00:18:23,200 --> 00:18:28,920 If the kids are having trouble making a three measure phrase in one breath right there. 295 00:18:28,920 --> 00:18:33,640 But I also have the students think of those long notes like four tape pianos. 296 00:18:33,640 --> 00:18:38,640 So the low brass and horns and altos, dah, dah, dia, dah. 297 00:18:38,640 --> 00:18:40,400 Dah, dah, dia, dah. 298 00:18:40,400 --> 00:18:41,400 Exactly. 299 00:18:41,400 --> 00:18:44,800 They get out of the way so they make room for the next section to come in. 300 00:18:44,800 --> 00:18:46,200 That's a good little teaching tool for them. 301 00:18:46,200 --> 00:18:49,200 And then the timpani has a really important part underneath. 302 00:18:49,200 --> 00:18:53,080 So just making sure that they feel confident on their entrance. 303 00:18:53,080 --> 00:18:55,880 And we basically drive it home to the end. 304 00:18:55,880 --> 00:18:59,800 This time though, we have accents on beat three, just like at the beginning with the 305 00:18:59,800 --> 00:19:01,160 accompaniment line. 306 00:19:01,160 --> 00:19:05,080 So just making sure that we're still hearing that low brass finally get another little 307 00:19:05,080 --> 00:19:08,440 moment in the sunshine here at 61 to the end. 308 00:19:08,440 --> 00:19:09,440 And it's so important. 309 00:19:09,440 --> 00:19:10,440 Yeah. 310 00:19:10,440 --> 00:19:13,920 And you want to make sure everybody else backs off to them so that they sound really 311 00:19:13,920 --> 00:19:18,600 confident and they're building us into the last little part. 312 00:19:18,600 --> 00:19:22,760 The leading tone from 63 to 64 is the worst out of tune. 313 00:19:22,760 --> 00:19:24,400 It's the worst in the trombone. 314 00:19:24,400 --> 00:19:25,400 Yeah. 315 00:19:25,400 --> 00:19:31,040 So make sure that the A natural is in tune and that the B natural and the trumpets is 316 00:19:31,040 --> 00:19:32,040 in tune. 317 00:19:32,040 --> 00:19:34,760 Sometimes they undershoot, don't change their vowel shape. 318 00:19:34,760 --> 00:19:39,000 So we want to make sure that that last little chord, 63 is in tune. 319 00:19:39,000 --> 00:19:43,880 And again, they're not blowing too hard to make a tuning issue quote unquote happen when 320 00:19:43,880 --> 00:19:46,000 actually it's just a balance issue. 321 00:19:46,000 --> 00:19:51,560 And then the ending, making sure the last note says the word tone, ta tone, make sure 322 00:19:51,560 --> 00:19:54,760 it's a full value quarter note at the end. 323 00:19:54,760 --> 00:19:56,080 Open throat release on that. 324 00:19:56,080 --> 00:20:01,720 And I know it's marked fortissimo at the end, but again, like with that whole recipe idea, 325 00:20:01,720 --> 00:20:03,800 fortissimo doesn't mean like crazy loud. 326 00:20:03,800 --> 00:20:08,200 It needs to be with their very best sound tone quality being the most important thing. 327 00:20:08,200 --> 00:20:09,200 Absolutely. 328 00:20:09,200 --> 00:20:13,720 Well, we hope that this is really helpful and that you will consider using dance celebration 329 00:20:13,720 --> 00:20:16,120 in one of your upcoming programs. 330 00:20:16,120 --> 00:20:45,040 Thanks for joining us on this episode of Band BFFs.