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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 be discussing Bazaar by Randall Standridge.

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Cheers to starting the conversation!

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Alright so this piece is marked as a grade 1 plus and it is definitely emphasis on the

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plus.

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So while the it's in the key of concert E flat or C minor, 4-4 throughout, it's only

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two minutes in length, but two clarinet parts, two trumpet parts, but there are lots of accidentals,

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stylistic considerations, percussion parts, lots of things that make this a little bit

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beefier grade 1.

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For sure.

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So at the very beginning, your low brass and low reeds are going to start you off and

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it's really important to set up your style now at the beginning of the piece because

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it's going to be copy paste for the rest of those songs.

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So make sure that it's short, short, long, long, short, short, long, long, short, short,

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and then when the clarinets enter at 3, your low brass are going to come down in dynamic

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and your bells are going to take over with the cool melodic part underneath.

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One of the best ways I think to teach something like that is by teaching it on a concert F.

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Yep.

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So just get it all out of the way and just have the band play that rhythm with the style

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markings on a concert F so you can unify that across the ensemble before you even worry

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about the notes.

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For sure.

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And looking at percussion, I know Laura already mentioned it, but oh my gosh, there is so

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much on this piece and actually they're really all pretty important.

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So it would be pretty difficult to say goodbye to a part just because they kind of all have

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an important little, I don't know, part at some point during the piece, which I'll point

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out.

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It has so much color and texture.

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For sure.

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The bongos are very important at the very beginning and they make it sound like a bizarre

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and then when the bells come in at 3, that adds a new little melodic part.

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You can kind of go with the hard acrylic melts that it says or you can play around and see

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if you want something a little lighter.

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It kind of just depends on the instrumentation of your band.

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Then you have the flutes coming in with the melody at pick up to five.

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So it's pretty important to have a good flute section.

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But if you don't, you could always have the alto saxophones play the cues there.

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Also again, tapering in the clarinets playing softer at five underneath the flutes.

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So I always talk about how it should sound like people are going away every two measures

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so that we don't have to have the flutes play louder and louder and louder.

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Just make everybody else play underneath them.

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Your alto saxophones, when they do come in at nine, they can be on B flat on their instrument

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all the way until measure 42.

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So that's a good thing as you're going through your parts.

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Laura and I both believe in marking students parts before we play them.

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So we'll take a set of the parts and we'll go through them and study them.

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Make sure that we've got accidentals written in if that's necessary, telling flutes which

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side of the flute to be on, if there's any oboe pinky considerations or for clarinet.

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That way we're doing as much work ahead of time as possible.

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So when we're teaching it, we already know that the kids have it marked on their part.

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Plus it also helps you just when you look at the students part individually separate

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from your score, it gives you a way better idea of what the kids are dealing with and

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how to approach it and how to teach it to them.

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For sure.

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Then we have at measure eight, big moment for the French horn and the oboe.

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But I always let horn lead here and oboe colors them.

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Then when low brass enter at nine, like trombone, euphonium, bassoon, they always like to come

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in really loud.

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And so they'll end up covering up the flute part.

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So I always ask them to make sure that they cross out the M and just make a B piano.

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At 11, the layering in the trumpet, they get to come in pretty strong.

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Then crescendo up into 12.

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And then the whole band is going to day crescendo going into 13.

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There's also a finger symbol part, which a lot of times people like forget about it.

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So just make sure you bring that out because that does add to the cool colors and textures

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of the piece.

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Accidentals everywhere.

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So make sure that your students understand the accidental rule that they're carrying

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that through the measure if you have not pre marked that in their parts for them.

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And then where we have these double parts like in clarinet, making sure one of the parts

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changes notes, one of them stays the same, making sure that we're bringing out the notes

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that change.

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Once we get to 13, we have kind of a new idea.

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Now you've got this three measures in a row of straight eighth notes and the flutes in

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the clarinet part.

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And that is for younger players, their tendency is going to be for those to be very compressed

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for them to rush.

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So as I'm teaching it, I would teach it tongued.

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I would have them play it all tongued at the very beginning and then add the slurs and

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as you get going, just to ensure that their fingers are moving really evenly.

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You may even consider for some of your players, you may need to have them tongue it all the

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way up until, you know, just before the performance, you know, be covered up by the slur probably.

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So just just know that that's a teaching technique for that.

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It says here on the part, it has crescendo written in.

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I always have my students physically draw that in.

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We ignore the text.

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So if you don't mark that in their parts for them, have them write that in so that we all

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see that this horn line horn and alto and tenor line is the is the lead melody until

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trumpets come in when trumpets come in at measure 15.

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They're kind of leading the charge on the crescendo going into measure 17.

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Now we've got this trill thing happening at 16.

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Katie and I both agree.

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We feel pretty strongly about trills.

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They are in effect.

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They're really cool.

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Well Katie says she doesn't really like it.

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Just don't really love trills.

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I will.

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On this piece, actually, it is pretty fun.

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I'm not a flute player.

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I love trills.

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But definitely when students play trills, they don't always sound great when you put

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all of your kids on those trills.

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So I would audition that for one or two players to play the trill.

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Everybody else just hold the sustained note out.

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Find the best kid, the kids that can move their fingers the best and make the trill.

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What it's intended to be, which is an effect.

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Also, yeah, it should not cover up the sax and horn line because that's the important

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part leading up along with the timpani leading up into 17.

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And with the flutes on that C above the staff, like, I mean, yeah, that's going to be loud

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and sharp.

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It is.

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It's going to be really shrill.

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We have China cymbal.

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And China cymbal is such an important effect in this piece.

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For sure.

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But the tendency for China cymbal is to be way too loud.

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Right.

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So make sure that's it.

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Yeah, calm down a little bit.

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There's one volume.

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Yeah, one volume.

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And then timpani leads into 18 and we're doing kind of the same forte piano effect that

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we had back from the trumpets at 15.

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So ask them to make sure that they get softer and then lead up.

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And you can obviously see that in their stick heights here at 19.

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We're going to continue making sure that we match style.

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Yeah.

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So this is like this idea, this da, da, da, da, da, da.

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This happens several times throughout the piece.

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This is one of those things we've talked about in one of our previous episodes, a melody

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studies or doing a melody sheet.

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This would be like take common themes, melodic themes that happen in a piece, write them out

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for everyone in the band.

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And that really helps you to teach it more efficiently, more effectively.

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And it gives people who may not have a part that moves around a lot an opportunity to

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play something kind of fun.

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That is a great way to approach this section to ensure that you get the style right.

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We even did it like when we play it, we do it on our daily drill, doing it on a Remington

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exercise.

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F, F, F, F, F, F.

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And then we'd go to E, E, E, E, E, but doing the same style.

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So just find different creative ways that you can really, really incorporate that style

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to drill it into the kids ears.

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Clarinets and altos are really important in this conversation, along with the mallet percussion.

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They get the cool one and two and three and four and the response to the rest of the band.

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So making sure fingers are moving evenly, we're getting all the right notes, all of that.

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And digging into the low notes too.

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Da, da, da, da, da, da, da, da.

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Yes, yes, yes.

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I always talk about leading more as you go down.

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Gosh, you've just really got to know your percussion parts super well on this piece,

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too, because there's so much.

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It's all really cool effects.

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Like you've got a big timpani moment going into 23 here.

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You know, just really don't forget to look at the bottom part of your score as you're

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studying.

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As we go into 27 and leading into 30, we have more accents here.

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You have a big trumpet two moment where they're changing pitches and you want to make sure

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the students that are moving on the quarter notes, that they bring their notes out more

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than the half notes.

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Well, and right here before measure 32, that measure of rest, right, that is a measure that

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can kind of catch kids off guard.

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That's a percussion solo, a little percussion break there.

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They lead into that 27 and 28.

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And then all of a sudden it's like this effect where you have, yeah, and kids will miss that.

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Yeah, because they're like, da, da, da, da, da.

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Oh, there should be another note, but there's not.

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So they need to circle that rest and write silence or percussion or whatever, timpani

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get to do that cool forte piano leading in again.

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And then at 30, we're kind of back to what we had at the beginning, except now we're

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adding in these little trill effects, which are fun.

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Like I said, this is a piece I kind of like the trill, but you get to trill and the start

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loud and get softer.

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So a good way to teach this would be to play just the trill first without the dynamic to

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make sure that they're actually making it all the way to beat one of 33 because they

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pass it off.

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It's the high trill and then the medium trill with alto sax and tenor sax.

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So making sure that they go all the way to the next voice is important.

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Then you can add in the day crescendo as you go lower.

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And we have a lot of beat four pickups in this section.

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First it starts with the trumpets.

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And I have had trumpets like miss this entrance a lot of times when I've played this piece.

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So I will train my trumpets to verbally count in the rest.

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

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So that way they're coming in with confidence and not missing that pickup note and getting

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off with the melody since they're all alone on it.

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And the technique and the trumpets.

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I know.

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Yeah, they have to do a lot of different stuff at 36.

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So again, like Laura mentioned, taking the slurs out and just tonguing it to start is

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important just so that way they don't rush their fingers.

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The shaker is very important here at 34.

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This is the rhythmic part.

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This is the metronome.

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So make sure you have a really confident player on the shaker who can shake correctly and

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not get faster and faster.

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Low brass needs to come way out of the way here so the trumpets get to take the lead.

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We have that trill effect come back in the flutes, but this time only with them and tenor

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sax.

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So that's kind of cool and we want to make sure that they continue that on.

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But then horn, alto and oboe get to bring out their little conversational part with

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the trumpets at 37.

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I will always have my trumpets draw in a breath market 37 so that way they can come in again

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confidently on the pickup note into 38 on the melody and now flutes get to join them

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so they need to make sure that they play really confidently.

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This time we have accents on one, two, three, four.

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So making sure we bring that out in the melody and then again 40 and 41 are real tricky in

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the trumpet part and there's split trumpet parts here.

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So making sure the kids all know how high they're going to jump up and I would do one

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note at a time to make sure that aligns really well for them and then we're off right on

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three and 41 so that low brass get to take over.

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So now low brass take the lead and right there this would be a place that even if your trombones

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are playing on trigger horns I would have them do that C in sixth position.

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It makes more sense going from sixth to fifth that C to D flat.

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I would have that marked in their part so that they do that.

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That's way easier technique than going from trigger one all the way out to fifth.

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They're going to be less likely to miss that D flat if they do that in sixth position.

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Then at 42 a couple of other instrument specific things.

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The flutes need to be prepared.

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They have been on the B flat thumb up to this point.

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They now need to it needs to be marked in their part at 42 just to shift to the natural

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side of the flute and as Katie mentioned earlier the altos need to go to the regular B key

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here as well as they prepare for this little section at 42.

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So a little bit different idea but again low brass have the melody.

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All of this stays in the same little range.

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The technique for the low brass isn't terribly difficult because of where the notes lay but

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you just need to make sure that articulation is spot on for them and tuning is spot on.

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And then again when we add in the upper woodwinds the flute and the oboe making sure that those

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flutes are on the natural side of the flute.

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When we get to 46 it's soft.

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Hold on real quick back at 44.

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Also flutes tend to see that B natural and then they'll miss the A flat in 45.

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Weirdly enough that happens every single time I play this piece so make sure flute and oboe

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have the A flat marked.

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Same thing down.

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Nope.

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Just those two.

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And then 44 also is a great moment where low brass love to breathe there because they

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just did their one.

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Yeah do that we'll have to.

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Dah, dah, dah, dah, dah, dah...

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Take a breath.

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Dah, but they don't want to do that.

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Do not let them do that.

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They need to put a no breath there in an arrow because if they breathe there then it's super

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awkward before the flutes and oboes have entered coming into 45.

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make sure they draw a no breath there. Now go ahead on the piano. Right at 46,

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yeah, so now we've changed dynamics. This is going to be piano for the whole

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ensemble and percussion need to be real intentional about changing their dynamic

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level here as well. Alright, so piano, but it's piano, it's still bell tone, so

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there still needs to be intense air and a firm articulation at the start of those

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notes, but dropping our volume down. Now we have these eighth notes that are

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moving back and forth. Trumpets obviously have the lead on the melody, but then the

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woodwinds are echoing them on beat three. So just making sure that we're

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matching as best we can. Firm articulation in the low brass, and once again this is

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another place where we have the word crescendo written out. I would physically

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draw the cymbal in, but then I would have the kids save the bulk of the crescendo

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for the last two measures. Let's stay soft for a couple of measures, and then we

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like to use a number system. So then I would say in the third measure, this is

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measure 48, we would start crescendoing there. Now we're going to go from like a

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three to a four to a five. By the time we get to measure 49, now we're at a five

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and a six and a seven, so that we land at 50, and now here we go. This is our big

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impact moment. And that cool flute oboe trumpet scale coming upward, you want to

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make sure that that is the focal point leading into 49, so again you don't want

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everybody to crescendo too much to cover that up. Then there is a crunchy note at

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49 dissonance between like the flute split and the trumpet one and two

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split, so make sure they lean into that. And you've got a horn trill and

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everything, so this is a cool part. Yeah, it's really making it be super fun going

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into 50. And then just making sure again that we're matching style here, this is a

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lot like what we had before. Percussion again gets to have the conversation

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with the band. Then we have another little miniature percussion break. This

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part is super important. At 57, tambourine comes in all alone on this really neat

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tambourine part that we haven't had before, adding to the cool effects of the

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bizarre. And I have had tambourines, tambourine players before feel that they

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come in at 58 because that's where the band comes in, so I always make sure I

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cue my tambourine players and tell the kids, tambourine and timpani and snare

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are gonna lead us in and then we all come back in at 58. And then horns get to be

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important here. Tambourine is as visual as it is aural. For sure. This is like a

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cool tambourine thing, so forte piano roll, shake roll. We need to like strike it

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and then get the tambourine down and shake roll as they're they should raise

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the tambourine up as they're doing that. And every one of these rolls in this

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section, in my opinion, I would strike it every time when they are starting the

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roll and when they release the roll every time. Absolutely. So then we've got

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again a real similar accompaniment here but now horns and trumpet has the

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main melody with clarinet, but horn gets this really cool counter melody. They

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need to play a little softer on the long note horn in sax, but saxophone is

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coloring the horn and then they need to bring out the eighth notes. So it's a

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conversation again. So make sure that they bring that part out because that's

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super fun. They keep doing it over and over at 62. We want to make sure the

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half notes come down out of the way and don't overplay 64, keeping those nice

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tenutoes leading into 65 and we're day crescendoing. And that's hard for low

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brass players to do here because we have da da da da da da da da da. So make sure

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that they're not like getting longer with their articulation just because

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they're day crescendoing. And then we're gonna do the same build up that we had

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before where we start piano and build it up and try not to let the the forte

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pianos cover up all the moving parts throughout here. 71, another percussion

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break, big timpani moment at 71. Have written in on your kids parts to look up

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at the end so that way we can all enter together at 71 for that last little bit

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of style. Yeah and then this end you want to make sure on the percussion part

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everything needs to ring at the end. So the band and percussion do not end

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together. Da da da da da da. Cha cha cha. In the percussion section everything needs

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to ring. So that's an opportunity we don't dampen the timpani. We don't dampen

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the china cymbal. We want to hear that cool effect of that china cymbal ring

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at the end. This is such a cool piece. Kids love this piece. Because it sounds like a

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movie soundtrack and I just I have played it a lot of times because I really

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think it's so much fun. So I hope that this has helped and that you will

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consider programming Bazaar in your next concert. Thank you for joining us on this

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episode of Band BFFs.