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Welcome to our podcast, Band BFFs.

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The podcast where we make your music selection less complicated.

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On today's episode, we're going to delve into Night Fury by Carol Britton Chambers.

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Cheers to starting the conversation.

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All right, this piece is in the key of concert F. It's about two minutes in length.

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It is 4-4 with a handful of measures in 3-4.

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It does have split clarinet and trumpet parts.

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Percussion is really important.

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There are lots of percussion instruments.

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It is very important.

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And there are some rhythmic considerations in this.

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Lots of dotted quarter eighth rhythms and some eighth rest and eighth note combinations

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you want to be aware of.

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So starting off at the very beginning, you'll notice that the tempo is really quick and

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you need to be sure that you start slower with your bands, especially if they're younger,

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so that you don't have the tendency to rush through.

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So we usually start this at about 100 and then maybe move it up a little bit.

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And you don't have to go 144.

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It's just supposed to have an energetic underlying feel.

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So just make sure that you continue to think about your pulse as you're working on the

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piece.

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Again, as Laura mentioned, percussion is very important.

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There's really not a part that can be left out on this piece.

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So make sure that you do have enough players to cover everything.

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Chimes are incredibly important at the beginning.

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And a lot of times chime players don't like to play chimes loud enough, which sounds crazy,

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but it's because they think that like, it's really loud to me standing right here.

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But then to the audience, it's not loud enough.

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So just really talking about how to properly play chimes at the very beginning is important

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for percussion.

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And we start off with this half note, stair stepping, scale, scalar line at the beginning.

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And you're going to want to make sure you don't start too loud.

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And then coming into five, we have some dim, diminishing where we're going into quarter

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notes and we want to make sure that we start softer.

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Again, just to bring some extra drama there.

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Now, all those half notes, remember, a lot of them stay the same and some parts are changing.

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So make sure you're bringing out the changing notes.

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Absolutely.

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There are lots of D's in trumpet.

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So making sure that they're remembering to kick so that it's in tune all the time.

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And then at seven, we have our first accent.

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And this is a drum break.

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And this is where we go into three, four.

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Laura and I both think that it's really important to mark up students' parts whenever you're

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learning anything with them ahead of time.

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So that way you don't have to waste time saying, oh, make sure you mark that, you know, e-natural.

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You've already done it for them.

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So here at seven, this is a great opportunity to write in the counts for rests.

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One, two, three, one, two, three.

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So that way they're not miscounting and then coming in incorrectly at 11.

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The percussion need to really spend a lot of time making sure that they do the accents

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really well and that they don't rush through the eighth rest, eighth note combination that

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Laura mentioned earlier.

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That is a tendency.

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And then by the time your band comes in at 11, if they've rushed it, it's like beyond

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out of control.

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Like you don't even know what tempo you're going anymore.

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Now one of the ways that you can address that with your percussionists is you can have them

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put their left hand on the rim of the drum so that they are feeling straight eighth note

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pulses all the way through one and click and click in.

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That will really help them.

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Obviously, you don't want to keep that in permanently, but if you do that while they

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are learning it, it will help them to internalize that pulse.

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Yep.

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So if your snare drum continues on in 11, make sure that you ask them to play under

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the band.

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Lots of times I've judged this piece.

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Percussion gets so excited.

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Yeah, they're so excited and they get to move all fast and play 16th notes and it is just

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overwhelming.

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So just encourage your percussion.

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Remember they had their moment in the sunshine at seven.

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Now they're going to back out of the way.

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Not a mezzo forte.

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I'd say mezzo piano at best at 11.

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And making sure those accents are brought out and everything else needs to be a tap

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on that drum.

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So just really, really low stick hype for them.

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All right.

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Once we get to measure 11, all right, man, concert E naturals, concert E naturals, concert

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E naturals and E naturals.

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They are super, super important.

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So you want to make sure again that those parts are pre-marked for your students so

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you can anticipate all of that.

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Now one of the biggest things we hear bands do on this all the time is try to play in

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two measure phrases.

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One, three, four and one, two, three, one, two, three.

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And we do not want to do that.

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We want to make sure that we're going all the way through those half notes, thinking

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about even like a little mini crescendo at the end of those half notes.

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So we make the full four bar phrase.

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At performance tempo, it is not hard for them to play this in four bar phrases.

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So please, you know, hold them accountable to that for sure.

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All right.

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And then making sure that skip in the low brass when they go from the D to the A, making

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sure they're in this is in measure 14, that we're getting all the way up into that second

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position and they're hearing that interval of a fifth.

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That is something you probably need to slow down and isolate to make sure that that is

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accurate all the way through that.

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Really mature bands, if your band is a little more mature, you could even add some phrasing

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in here, some crescendo for two measures, day crescendo for two measures.

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Those are all things that you can just kind of add in depending on the maturity level

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of your group.

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Yeah.

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So measure 14, man, a lot of times when I've judged this piece, even in my own band hall,

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the A natural is so flat.

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So just make sure that you talk to the kids about that and really drive home that in A

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is closer to first than is to third.

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And that's going to really help going from four to two, making sure that they're all

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the way in.

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And then at 15 also make sure that the first and second trumpet parts are equally as important.

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Now there with clarinet and with trumpet, the parts are not rhythmically unison the

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whole time through here.

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So you need to make sure that you have strong players on both first part and second part

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in those instruments.

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And then once we've made it to measure 19, now we have the same idea, the same melodic

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idea, but we've kind of moved it up a third.

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So make sure that, you know, again, that we're hearing all of the parts clearly and bells

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leading into 19 is really important.

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Don't sleep on the bells.

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I will tell you a little side note.

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One time one of my bands was playing this and we just like totally didn't see that the

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bells were so critical important until later on in the learning process.

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So we had to redo some parts to make sure that that was brought out.

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Don't let that be you.

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Make sure you see the bells are very important.

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They do not double the flute in the oboe part ever.

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They are on their own thing and they are super important to texturally to lead into different

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measures here at 19, like Laura said, it's just higher, but you're doing the same thing,

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perhaps with the phrase shaping where you crescendo for two day crescendo for two any

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time that your sax and your flute and if you have oboes are chilling on these dotted half

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notes, make sure they're adding in some pulsing or vibrato again, major bells parted 22.

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That's not doubled anywhere else.

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As we're crescendoing into 25, you want to make sure you teach the kids to have no breath

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there.

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Doing the crescendo wholeheartedly.

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They get to breathe in like one second on beat two at 25, making sure that your low

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brass, especially your tubas are very open on the a naturals so that they can be in tune

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there.

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All right.

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And then yeah, bells again, right there at 26, another part bells there they are with

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the upper woodwinds, the flute and the first clarinet and the first clarinet part man,

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this first clarinet part crosses the break.

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You need to make sure and if all of your first clarinets can't play up there with a really

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good sound, that's okay.

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You can put one clarinet player up there.

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That's perfectly fine.

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If you just have one that can sit up there and write that register, but we want to make

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sure that the first clarinet part complements the flute part and doesn't smother the flute

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part right here.

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And then the low brass get to have, they're having a conversation here.

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So we love to talk about that in our band halls.

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So the low brass are going to make sure that they're tonguing firmly so that their repeated

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notes come out.

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And then again, watch the tuning on E natural in 27 and 28 in the low people here.

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I can hear this part in my brain at 29 again with the clarinet like Laura just said that

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F sharp and G man, those can stick out like crazy.

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If you don't have a controlled player, I have always played it where that's a solo player

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because it can really cut through your band, especially because you don't have any trumpet

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here.

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You don't have any low brass.

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And then you have the tuning and the French horn from B to C. They tend to be sharp.

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So just make sure that 29 you're really slowing it down and listening to your tuning and the

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chord changes here, making sure that we're 100%.

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Again, this is a great opportunity to mark stuff in for your students.

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So Sacks loves to miss F sharp here at 29 and C sharp at 31 and 30.

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So if you go in and pre-mark your parts for your students, they're going to be less likely

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to miss those notes, obviously.

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Stylistically here, the low reeds that have that kind of motor accompaniment one, two,

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four, I would have them lift off of those quarter notes to give a little more clarity

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in the articulation.

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And da, da, da, da, da, da, that'll really help to clear that up.

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Right.

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One more thing I didn't mention is that 28, make sure that you elongate the third beat.

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Da, da, da, lots of times bands won't go all the way to beat four right there.

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And you want to make sure that we end that really well because there's a rest for everybody

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on beat four before this new section.

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Tambourine also takes over at 29 and they're the rhythmic pulse.

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So make sure you have a really good tambourine player here.

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One year that I played this, my tambourine player was very slow in her internal pulse.

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And so it kind of like ruined the momentum when we got here.

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So just make sure you pick a strong player who can kind of take over what the snare

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drummer has already set up.

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And again, these accents in the tambourine part are going to be really, really important.

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Now this whole part here with low brass, all the low brass coming in, the rhythms, the

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parcels, the tuning, the articulation, this is all stuff that you just have to make sure

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you break down and spend time on with your players.

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Right.

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And it seems like something like, oh, it's just an afterthought.

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It's a little conversation back and forth here.

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But like this is something low brass can sound really great on or not.

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So make sure you spend a lot of time.

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And then they come in at 35 with another little conversation on a G. So we just have to make

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sure that we're really in tune when we enter there.

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And then measure 36 has E, G and A in trombone, all really difficult notes to play in tune.

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So make sure that that sounds really good.

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And then that your low brass and low reeds are doing the articulation there too.

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Tongue slur, tongue tongue.

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And then your upper woodwinds get to have it in 37.

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Speaking of tongue slur, tongue, right, the same articulation that we have right here.

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Now when we start to have these white notes, these dotted half notes, again, we talk a

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lot about air follow through, making sure that we're using our air supporting all the

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way to the ends of those of those white notes, being careful of the accompaniment part in

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the low brass, D, D, D, D off, D, D, D off.

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So that sound to silence, making sure that that beat three touches the rest.

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And it is marked that it needs to be a long note right there.

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Right.

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And then you emphasize that with your students.

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And I don't know why, but low brass still love to breathe every single measure, at least

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maybe it's just my band hall, but make sure that they don't breathe.

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I don't think so.

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Okay, good, because that makes you feel a little bit better.

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Between 39 and 40, they love to breathe there.

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There's no reason to breathe there because they get to breathe in 40.

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So make sure that you're teaching them to take a full breath at the end of 38.

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Do not breathe in 39 and lead into 40.

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Then take your breath mark on beat four of 40.

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Only then, everybody else, no breath going from 40 to 41, because they're leading into

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that change for the trumpet and the sax to kind of take over with the melody.

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And make sure that your upper woodwinds don't stop early going into 41 that they lead all

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the way to the bar line, and that they come in really confidently on beat three after

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alto and trumpet.

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Now when we get to 43, we're back to this percussion break, kind of this recap, but

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now we have the cool effect of the upper woodwinds getting to trill.

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Katie and I both are in agreement that we hardly ever let our entire section trill.

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I really don't like trills and being like a flute player, I probably am not allowed

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to say that, but they just tend to detract.

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So you want to make sure that you maybe audition somebody to be the solo triller in the section,

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and they will love that, you know, just getting a chance to shine.

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Absolutely.

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And it still has a couple of other players play without the trill, right?

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But just, you know, one or two players on the trill to give the effect that we're after,

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that will make it effective and instead of being a distraction.

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And a lot of times when I've judged this piece, the woodwinds don't know when to stop trilling.

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Yes.

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So it's kind of like a guess.

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So make sure you work on a firm cutoff on beat one of 45.

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And the accents and percussion are important here.

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And then this effect comes back a few times before in the suspended cymbal.

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Suspended cymbal gets to be hit several times throughout the piece.

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And I kind of told my students in the past, it's kind of like a little miniature gong.

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So make sure that that effect does get to come out and that they let it ring.

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And it's always on an arrival point for the band.

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47 is just a straight up recap of what we've had before.

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Now one of the things we haven't talked about yet, but this rhythm that happens in the low

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brass over another da, da, da, da, da, da, da.

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I think it's important for them to lift just a little bit off the dotted quarter note in

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order to give clarity in the articulation so it doesn't sound so muddy.

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Maybe not completely removing the dot, but definitely lifting a little bit.

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Da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da,

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just a little bit of space, a little bit of daylight.

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Yep.

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We have another big Bell's moment at 50.

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So make sure you don't miss that.

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Then the low brass get their moment of sunshine here at 53.

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And they get to kind of come out.

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But again, we've got D's that we have to be sure to tune and E and G and A again.

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Every time I've played this piece.

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All those fun notes.

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This has been a big moment where we really have to make sure we're in tune across the

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band 53 and 54.

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And then where the second clarinet comes in, they get to have a cool moment where the

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chord changes a little bit.

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So encourage those kids to lean into that and crescendo across the barline into 55.

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As we come here, again, this is a little bit of a recap.

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Make sure you're always thinking about tuning across the band between the A and the upper

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flute and the B and the trumpet, making sure that we aren't sharp on those pitches.

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Again, pushing through the barline, as Laura mentioned at the beginning.

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And 61 is just like the beginning, starting softer there, building it up and then starting

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soft again at 63.

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So it doesn't become too out of control.

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Again a little too measure percussion break this time.

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Now, because this is like the beginning, and I know we've said this a lot through here,

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this is a recap.

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We've done this before.

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I think it's so important to teach students that we want to be as efficient as possible.

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We want to make our lives as easy as possible.

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So when we're learning this at the beginning, I immediately draw my students' attention

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to where else it happens in the piece.

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We just did this at the beginning.

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Now find somewhere else in this piece where this happens.

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And they're excited to say, oh, I found it.

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Miss Bell, it happens here.

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It happens here.

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Great.

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Now, copy, paste everything that you just wrote.

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We're going to write it in this section so that they become efficient learners.

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The goal ultimately is that they don't end up needing us.

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They can do this all on their own.

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And then here at the very end, we do have a similar melody, but now we have some accents.

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So make sure that there's just a tiny bit of space between them.

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And then we teach 69 as a forte piano so that you can grow to the very end.

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You can teach them that they can have dynamic numbers.

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Like you're going to go all the way down to a level two at the beginning of this note.

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And then Christian do up two, three, four, five, six, seven.

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And everybody's going to be off on beat three.

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A very good cutoff.

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A very precise.

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With the whole band, nobody holds over.

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We choked the suspended cymbal.

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Tempani has a big moment at 69.

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Don't let snare drum cover them up.

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That's more about the tempani.

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And then everybody dampens at the end.

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So it's a nice, good, clean finish.

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We hope that this was a great recap for you on Night Fury and that you will consider

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programming this in the future for your band.

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Thank you for joining us on this episode of Band BFFs.