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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 Egyptique by Willie Owens.

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Cheers to starting the conversation!

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Alright Egyptique is on the grade two for Texas PML.

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It is in the key of concert E flat throughout and four four time throughout.

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It's only about two minutes long, a little over 50 measures.

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It has lots of chromaticism in it, lots of percussion, which is really cool.

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And if you have a and all of the percussion is going to be really important in this.

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And in fact, if you have an army of percussionists, it even has some ways for you to differentiate

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the parts.

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There's an advanced part and a simple part, which is nice.

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If you've got lots of kiddos, you can put someone on bongos playing one of the snare

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parts as well.

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So lots of percussion options in this one.

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So starting off at the very beginning, it's kind of mysterious.

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It's marked that way, obviously, but it starts a little softer.

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So you want to make sure all your army of percussion don't play too loud.

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And then it gets even softer going into measure three where flute, oboe and saxophone have

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a solo or a soli.

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So it's written very nicely where you can decide what's going to fit your band the

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best to make everybody sound wonderful.

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I've done it before where my whole flute section will play and only one oboe and one sax, but

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that's what fit my section that year.

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So you just never know.

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And you can kind of play around with the timbre to see what works best for you.

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The low people in mids are kind of doing this slow accompaniment line.

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We keep having to go to fifth position D flats, A flats in euphonium.

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It's nice though, because it's all open fifths.

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Right.

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There's no third in there.

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So the tuning is way easier.

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Yes.

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And just making sure everybody moves together.

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The horn range on this piece is very easy.

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It does not go up to even a B flat till the very ending, which is awesome.

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And only one time.

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Right.

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So even though we've got all these little chromatic steps, it's not horrible with the

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range.

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Again, you're wanting to make sure all the chords are underneath the moving parts.

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Here we have our first little horn moment at six along with tenor sax.

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And the horn and the saxophone, alto saxophone part are not mimicking each other on this

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piece very often.

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The alto sax kind of has more like the flute responsibilities.

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Yeah, more of a melodic role.

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Yeah, which is cool.

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It makes it sound again like it's foreign.

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And we're continuing to make sure that the eighth notes are being brought out all through

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six and seven, making sure that they're connecting and that you can hear that very visible line

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of the eighth notes going from the horn all the way up to the flutes through these two

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measures.

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And then trumpet and clarinet parts are split.

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And again, it's almost like alto sax and flute parts are split too because they have

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so many divisi notes.

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So make sure that you find strong players for both your clarinet and your trumpet part.

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The clarinet one part does get up a little bit higher, but I don't even think it crosses

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the break very often in this piece, if at all.

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So it should make your clarinet section just sound really nice and full and make sure that

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you have good players on both parts so that you can hear that cool harmony.

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Now you'll notice in some of the low brass accompaniment, first of all, the trombone

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parts are split on this.

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So that is one thing that makes it a little more challenging.

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However, most of the time the second trombone part is doubling the euphonium.

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So it's up to you to kind of, if you decide to utilize that second trombone part or not.

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But some of you have a lot of B naturals in this section in the low brass and E naturals.

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And I know that those notes are not always easy to play in tune.

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One teaching tool that you might use to kind of help that, I would take those notes that

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we don't play very often and that we have a little trouble maybe playing in tune and

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using them in our daily drill for like an articulation exercise.

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Let's do the articulation exercise on B natural today and it will sound awful.

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Until it doesn't.

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Until it doesn't.

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That's right.

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But so just to get them used to playing that note outside of the music.

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And making sure that they have that RL model, if you do decide to utilize it, make sure

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that they know I can listen to my friends on the euphonium.

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They're playing the same note as me.

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That will help them a lot too.

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Then we have like kind of a cool little timpani part here at measure 10 going into 11.

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So make sure that's brought out.

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And then you get the little color and the bells that's going to go along with the flutin'

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oboe at measure 11 on the melody.

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By the way, I forgot to mention snares start off on this piece.

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It sounds very like mysterious until a little bit later.

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But so you're going to make sure you want to check because throughout the snare part,

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the snares go on and off throughout the whole piece.

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They need to be aware of that.

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Yeah.

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Yes.

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You get this cool wind chimes effect at 13, leading us closer into 17.

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A big low brass moment here in 13, making sure and the horns get to be along with them.

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Making sure that they do this correct articulation and that they're keeping the quarter notes

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really full value.

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This is definitely a very legato section as we're coming into 17.

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Then bells are important along with the upper woodwinds at 14.

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And then the trumpets come in with pickup notes on the melody.

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So making sure that they're confident right away on beat four as they're kind of taking

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over and building us up on this part.

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Again, another wind chimes entrance.

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And then tambourine gets to be super important.

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Leading us into 17 with a really strong roll.

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It says optional timpani roll.

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I would definitely not make that be an option.

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They should definitely roll that will help just with building up the suspense going into

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measure 17 and remind kids to keep everything long here.

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They love to clip that last note of 16 really short or even take a breath before 17, neither

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of which we want.

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So just make sure that everything leads into measure 17.

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And as we transition there, this is kind of a tricky transition.

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So the tempo doesn't change drastically.

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We're looking at 20, 25 clicks.

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So enough, but you're coming off of a poker retard the measure before.

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I would practice that transition a million times and I would have my kids play it initially

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on a concert F.

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Yep.

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Just so they can, you can really focus on the pulse of the transition without, excuse

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me, without them having to be concerned about what notes they're playing or articulations

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and percussion need to be very, very confident at this transition.

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Right.

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They know what that tempo is and they need to be really good at setting it.

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They are driving the bus.

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Period.

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They are driving the bus.

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And then once, once you've gotten comfortable with that transition on a concert F, I'd go

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back and add it to everybody's notes.

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Now when we get to 17, we've talked a little bit already about the massive amounts of chromaticism

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that are in this.

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Katie and I feel very strongly about marking individual parts and making sure that we,

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that that stuff is marked in their music.

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There's a lot of accidental rule.

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Hey, this happens two or three times in this measure.

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So making sure that that is marked for your kids.

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Now we've landed at 17 and the volume is really big as we start to transition.

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And we see accents now.

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Yes.

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We want a day crescendo into measure 19.

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So now here we are.

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We have the flute oboe and trumpet with the melody.

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If you've got a really strong saxophone section, I would encourage you or even just a couple

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of players, let the saxophones play the cues because the balance in this section can be

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tricky.

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And you have so many people on the accompaniment line.

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This is just that it's not like there's a counter melody.

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There's melody and motor.

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And that is basically it.

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So in order to make the balance work out, it's when I've done this before, if I've got

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strong saxophones, I want them playing that part.

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And this is a very, in my mind, a very lyrical melody.

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So just encouraging the students to really push through bar lines, make sure that your

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flute oboe and trumpet sound like one, that tuning doesn't become an issue, that they're

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not detracting from each other.

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So it could even be that you find a group of four or five students that sound really

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good on that.

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Absolutely.

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Yeah, just make them a team.

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Yeah.

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Now the articulation on this, you want it that obviously the kids are going to want to go

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ta, so make sure that you're writing T's over that half note so that that's a really

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clear articulation from every kiddo that is playing that part.

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In the accompaniment, the motor part, the quarter notes need to be full value.

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So making sure that we're not hearing da, da, da, da, da, but the quarter notes need

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to be full value.

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Yeah.

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Touch the eighth notes.

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Low brass get a little conversational moment of melody here at 22 in response to what the

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upper people have just talked about.

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So just allowing those kids to come out of the mix just for that one measure and then

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they go back away again on accompaniment part.

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Now once we're at 23, you're going to see that the trumpets and altos and oboes have

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a part and then the bells and flute are kind of responding.

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So you want to make sure that we're doing our best to kind of match volume on that as

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we're going from section to section.

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Then trumpets, trumpets basically take the lead here with the melody again with the saxophones

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and oboes.

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And both parts are really important.

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They are loved here in trumpet two here.

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It just makes it sound so much better.

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So just make sure you've got really strong trumpet two players as well.

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In all the percussion, the accents that are written are critical.

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So you want to make sure that you're talking to your players about the unaccented notes

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keeping them low, making them taps so that the accented notes can be more effective.

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Then we have this nice crescendo moment into 27 where we have a big, that's right, big

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forte piano note.

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So we need to again, that's something I would practice away from the music.

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So use that as part of your daily drill teaching your students how to play a forte piano correctly.

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And then clarinets and trumpets, man, they are massively important here with the melody.

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Now you can see in the snare part, we have the snares turn on.

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So we need to be getting a little bit more thickly right here and we're crescendoing

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it up so it makes sense to change the timbre a little bit.

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You have this rhythm, some tied rhythms here, which can sometimes be tricky for younger

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players to count, which is again, important of why you should mark your kids.

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That's right.

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That's right.

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Because this is a great example of where you write a big four underneath the accent, a

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little one and two.

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So that way you can kind of practice making sure that they know exactly what that rhythm

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is going to feel like and that accent is really important as well.

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Just for the feel.

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And again, I would definitely have my timpani roll there to help instead of an optional

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roll.

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It'll just add a little bit more excitement as you're crescendoing.

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Once we get to 31, we have this little bit back and forth between people coming in on

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one and three.

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This needs to be a really big accented moment.

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So we need to make sure that we really hear the triangle shape of that note.

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There's an optional trill in the first flute part.

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And I definitely, I think it's effective if you can have the trill, but you don't need

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10 people playing that trill.

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One or two on that upper trill makes it effective.

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But when we add the trill, you want to make sure that the students take the trill all the

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weight of the rest in beat one.

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Right.

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Same with the trumpet part.

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Yes.

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Yes.

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And then flute oboe trumpet takes over the melody, low brass get a little bit of a moment

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here, which is awesome for them.

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You've noticed so far in this lots of dynamic contrast where we're like up and down.

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So kids need to be really aware of that.

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And Mr. Owens is so cool here.

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He does snares off again.

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To help out again with the dynamic.

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But also you can see that he has said your trombones might not feel comfortable going

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up to the higher B flat.

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So here you go.

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They can just go down to the lower B flat.

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So that's really neat.

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I mean, that's what you would want to do to make your kids sound the best anyway.

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But he wrote it in for you.

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So feel free to do whatever makes your band sound the best.

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Absolutely.

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So we're day crescendoing again into measure 35.

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We've thinned out a lot.

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Even the accompaniment line has thinned out in the rhythm.

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It's now instead of like a driving rhythm, it's more half note, eighth note, still back

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to flute oboe and saxophone for the melody.

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The same thing as before.

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You want to make sure everything is really connected here and lyrical sounding.

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Bobras get another moment of glory here at 38 going into 39.

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Again make sure that they're keeping a long tongue and not trying to make anything too

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lifted.

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And then we go into more of a full band part here.

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Again, it's going to get really loud, really fast if you don't talk about layering.

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So just make sure that everybody's listening again for the upper melody, which is again

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in the flute and the oboe, the sax and the trumpet.

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Just making sure accompaniment, even though they get that one measure of being louder

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at 38 that they back off again at 39 and reminding percussion also that they're jamming underneath

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the band.

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They don't need to be really loud.

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Then we have another little rhythm and moment of glory going into 43 for the lows.

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Upper people, I would try to make sure that they all take a breath at measure 42 after

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the dotted half note leading into 43.

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So that's like a big moment, especially in the trumpets.

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The trumpets in the clarinet one and two have the melody here.

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So making sure that we have a really distinct, we're finishing this idea and now we're

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accenting and starting this new part at 43.

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Then the snares go back on again because now we've got more voices coming in here in a

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moment.

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Now at 43 also, you'll notice that the flute and the oboe part, the upper part, the tendency,

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this is a new idea even though clarinet and trumpet have the melody, this is a new idea.

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The tendency for them is going to be to clip the quarter note on beat three.

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Every other quarter note, they're going to want to clip that after the slurs.

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So making sure that they understand that that should be a full value quarter note.

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The low brass and horns and low reeds that have the entrance in measure 44 on beat two,

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I would have my students write a breath mark on beat one so that that was a very clear

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entrance on beat two.

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And it's accented.

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You need to make sure that it's brought out.

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So we hear the beat one dotted half note from the melody and then we hear this beat two

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response.

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Now this is the first time, measure 45, this is the first time the horns have made it

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up to a B-flat.

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So this is the first appearance of a B-flat that we hear for the horns.

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I just love the way this is written for horns.

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I really think it's very friendly for them.

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You'll also notice an A-flat in measure 46.

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I think there's one more towards the end of the piece, but the range of this for horn

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is so nice.

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And they really, horns and tenor saxes are kind of like the chameleons of the band.

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They can play multiple roles.

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And in this piece, the horns really play the role of low brass.

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Right, trombone.

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Yeah.

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Also, I forgot to mention, but back at 42, there is a big timpani moment.

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It's one of the first like big, big, big moments driving into 43.

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So make sure your timpani players featured there.

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And again, they come back at 46 and are driving us into 47.

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So make sure your timpani player plays confidently out there.

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And then at the end, we just have a little bit more cool accented parts, another cool

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timpani rhythm here at 47, making sure that you're bringing this out.

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Again, anytime you see the accents for the upper melody and even the low brass get to

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tongue really firmly here at the very end, horn and tenor and clarinet get to end with

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this really cool little moment on beat two.

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And it's so important.

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Yeah, so important.

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And you want to make sure that they sound really nice and that horns get to be kind

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of the featured part here.

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And then the end, make sure kids don't go too crazy.

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My kids always love to play the last measure really loud.

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Yes.

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So just make sure it sounds pretty.

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It's marked fortissimo.

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So they say that and they get so excited.

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Yeah.

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But you know, dynamics are relative.

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And then the last note is marked marcotto, but I would always, always, always want the

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last note to have a full body of sound and resonance.

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So we talk about, we write the word tone over it for one, two and tone.

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It needs to have a full body of sound.

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Yep.

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All right.

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Well, we hope you have enjoyed this episode and that you'll consider playing this piece

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in your future programming.

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