1 00:00:00,000 --> 00:00:10,440 Welcome to our podcast, Band BFFs. 2 00:00:10,440 --> 00:00:13,720 The podcast where we make your music selection less complicated. 3 00:00:13,720 --> 00:00:18,880 On today's episode, we're going to be discussing our Kingsland Spring by Sam Hazo. 4 00:00:18,880 --> 00:00:23,000 Cheers to starting the conversation. 5 00:00:23,000 --> 00:00:25,720 This piece, oh my gosh, I love this piece. 6 00:00:25,720 --> 00:00:27,640 Me too, it's one of my favorites. 7 00:00:27,640 --> 00:00:29,120 It's an oldie but a goodie. 8 00:00:29,120 --> 00:00:31,880 This one was published in 2005. 9 00:00:31,880 --> 00:00:38,120 And personally, this was my first experience with Samuel Hazo's music and I love his writing. 10 00:00:38,120 --> 00:00:40,400 I love the way he writes. 11 00:00:40,400 --> 00:00:43,000 This piece is an E-flat, concert E-flat throughout. 12 00:00:43,000 --> 00:00:45,400 It's about three and a half minutes long. 13 00:00:45,400 --> 00:00:50,280 And while it's in three, four most of the time, it does go to a half time, four, four 14 00:00:50,280 --> 00:00:53,240 feel a couple of times throughout. 15 00:00:53,240 --> 00:00:55,240 I love this piece too. 16 00:00:55,240 --> 00:00:56,640 And Laura and I both agree. 17 00:00:56,640 --> 00:00:57,720 It's one of my favorites. 18 00:00:57,720 --> 00:01:02,640 It's come back in my repertoire many times throughout my career as a band director. 19 00:01:02,640 --> 00:01:04,400 And I just think it's beautiful. 20 00:01:04,400 --> 00:01:07,360 It has so many great moments for many different instruments. 21 00:01:07,360 --> 00:01:10,240 So I just wanted to say all that before we started. 22 00:01:10,240 --> 00:01:15,600 The piece starts off very thinly scored with your vibraphone player getting to be the pulse 23 00:01:15,600 --> 00:01:17,120 of the band. 24 00:01:17,120 --> 00:01:20,160 You want to make sure you have them on the right kind of mallets. 25 00:01:20,160 --> 00:01:22,040 You can experiment here. 26 00:01:22,040 --> 00:01:24,560 Last time I played it, they were on like maroon mallets. 27 00:01:24,560 --> 00:01:25,560 I remember that. 28 00:01:25,560 --> 00:01:27,160 I don't know what that means. 29 00:01:27,160 --> 00:01:30,960 But we tried different ones to make sure it was the right vibraphone mallets for us. 30 00:01:30,960 --> 00:01:33,640 You want to make sure it's articulate enough that you hear the rhythm. 31 00:01:33,640 --> 00:01:34,640 Yes. 32 00:01:34,640 --> 00:01:36,400 Then the low reeds are playing. 33 00:01:36,400 --> 00:01:39,960 You can talk about some stagger breathing, A's and B's. 34 00:01:39,960 --> 00:01:41,600 You're going to breathe on odd measures. 35 00:01:41,600 --> 00:01:43,120 You're going to breathe on even measures. 36 00:01:43,120 --> 00:01:46,720 So that way it just kind of sounds like a drone throughout. 37 00:01:46,720 --> 00:01:50,760 You also want to make sure your flutes just sound so beautiful here. 38 00:01:50,760 --> 00:01:55,640 It could be a flute solo or solo if you needed it to be since they're all alone at the beginning 39 00:01:55,640 --> 00:02:00,800 on this beautiful melody, making sure that they're using lots of vibrato as they're leading 40 00:02:00,800 --> 00:02:06,280 into the rest each time as they play the melody over and over. 41 00:02:06,280 --> 00:02:08,880 It's a really fast three. 42 00:02:08,880 --> 00:02:12,960 I mean, it almost at moments feels like it's in one. 43 00:02:12,960 --> 00:02:17,240 It's easy for them to make a four bar phrase, but I always have my flutes. 44 00:02:17,240 --> 00:02:21,360 We put a little mini crescendo at the end of every one of those dotted half notes so 45 00:02:21,360 --> 00:02:25,160 that the note does not end softer than it started. 46 00:02:25,160 --> 00:02:31,240 Then right here where the flute takes over again at nine. 47 00:02:31,240 --> 00:02:33,640 Then lows, bottom. 48 00:02:33,640 --> 00:02:36,480 Make sure that they have a big crescendo going into 13. 49 00:02:36,480 --> 00:02:37,800 They tone that quarter note firmly. 50 00:02:37,800 --> 00:02:40,680 They tone the quarter note firmly so you can hear that. 51 00:02:40,680 --> 00:02:42,360 Then the flutes take over again. 52 00:02:42,360 --> 00:02:47,440 Then you've got the low reeds moving on their low part line here. 53 00:02:47,440 --> 00:02:48,440 That's really cool. 54 00:02:48,440 --> 00:02:53,960 I will always have my low or I'll draw in for them a crescendo from 14 to 18 because 55 00:02:53,960 --> 00:02:56,840 that's a cool moment for your low reeds. 56 00:02:56,840 --> 00:03:02,640 Then you have a suspended ride cymbal with a stick here and it adds a really cool little 57 00:03:02,640 --> 00:03:04,040 color. 58 00:03:04,040 --> 00:03:06,840 Your timpani gets to enter with the rest of the band. 59 00:03:06,840 --> 00:03:12,080 This is definitely not a very percussive piece. 60 00:03:12,080 --> 00:03:16,120 If you don't have very many percussionists, this would be a good one for your group for 61 00:03:16,120 --> 00:03:17,120 sure. 62 00:03:17,120 --> 00:03:21,240 But you want to make sure the players that you do have on the parts are confident. 63 00:03:21,240 --> 00:03:23,520 That vibe part is major, major important. 64 00:03:23,520 --> 00:03:26,000 The suspended cymbal part is really important. 65 00:03:26,000 --> 00:03:27,720 At 21, we add the oboes in. 66 00:03:27,720 --> 00:03:31,520 Now we have the oboes with the same melodic line that the flutes have. 67 00:03:31,520 --> 00:03:33,040 It's a new color. 68 00:03:33,040 --> 00:03:38,840 The alto saxophones and French horns come in with a counter melody which is really, really 69 00:03:38,840 --> 00:03:39,840 important. 70 00:03:39,840 --> 00:03:40,840 That's beautiful. 71 00:03:40,840 --> 00:03:41,840 It is beautiful. 72 00:03:41,840 --> 00:03:42,840 It is beautiful. 73 00:03:42,840 --> 00:03:46,480 We want to make sure that we're passing that conversation back and forth from those flute 74 00:03:46,480 --> 00:03:49,560 and obo to the alto sax horn line. 75 00:03:49,560 --> 00:03:54,960 The support underneath in the tuba and the low reeds is not covering any of that. 76 00:03:54,960 --> 00:04:00,640 We add in the clarinets for the first time with another little idea at 27. 77 00:04:00,640 --> 00:04:06,200 Horns are now doubling the second clarinets, or second clarinets are now doubling horn, 78 00:04:06,200 --> 00:04:07,960 and we get a little bit different ideas. 79 00:04:07,960 --> 00:04:10,680 So we have a clarinet saxophone color here. 80 00:04:10,680 --> 00:04:15,800 At 29, we come back with that same idea in the flute and obo. 81 00:04:15,800 --> 00:04:20,680 All of these dotted half note chords that are happening underneath are so important. 82 00:04:20,680 --> 00:04:25,440 And anytime something changes, whether it's a quarter note like you see in some of the 83 00:04:25,440 --> 00:04:29,440 lower voices before 29, we add a quarter note leading in. 84 00:04:29,440 --> 00:04:34,320 Whether it's a quarter note or whether their white note is changing, it's always important. 85 00:04:34,320 --> 00:04:37,240 When that note changes, it's always important. 86 00:04:37,240 --> 00:04:41,520 When I've played this before, I've bopped a lot of this piece to make sure that the kids 87 00:04:41,520 --> 00:04:46,640 can hear when the parts are changing and hear the chords changing. 88 00:04:46,640 --> 00:04:50,280 That's really important to do on any of these three, four sections throughout this piece, 89 00:04:50,280 --> 00:04:52,120 just so they can hear it. 90 00:04:52,120 --> 00:04:56,640 And then I know she just said this, but I remember last time I performed this, my first 91 00:04:56,640 --> 00:05:03,000 clarinet was having trouble playing this part at 28 sounding beautiful, like the C was popping 92 00:05:03,000 --> 00:05:04,000 out really loud. 93 00:05:04,000 --> 00:05:07,920 So just make sure that you work on that, not sticking out of the mix there. 94 00:05:07,920 --> 00:05:13,520 Using their right hand down on that A or using the resonant fingering for that A is going 95 00:05:13,520 --> 00:05:15,520 to help that transition to that C as well. 96 00:05:15,520 --> 00:05:18,520 I'm going to need it down for B flat in the next measure, so just keep that right hand 97 00:05:18,520 --> 00:05:19,520 down. 98 00:05:19,520 --> 00:05:23,080 And in fact, where possible, and it's not always possible, especially because this goes 99 00:05:23,080 --> 00:05:28,200 by really fast, but when those clarinets are sitting on a third line B flat for a long 100 00:05:28,200 --> 00:05:30,640 time, I would have them use the... 101 00:05:30,640 --> 00:05:32,080 Versus the A too. 102 00:05:32,080 --> 00:05:33,360 Exactly, exactly. 103 00:05:33,360 --> 00:05:38,280 I would have them use the A key and third side key from the bottom. 104 00:05:38,280 --> 00:05:41,240 It is a way prettier sound on clarinet. 105 00:05:41,240 --> 00:05:43,320 Now technique-wise, it doesn't always work out. 106 00:05:43,320 --> 00:05:47,160 They may not be able to get to that note or to get to that fingering, but where possible 107 00:05:47,160 --> 00:05:48,400 I would do that. 108 00:05:48,400 --> 00:05:54,360 Now when we transition into 35, this is our first half-time feel. 109 00:05:54,360 --> 00:06:01,160 So it is so important, first of all, suspended cymbal leading into 36 is where the full band 110 00:06:01,160 --> 00:06:07,240 comes in, but flute, oboe, first clarinet, and trumpet have pickups, and three and one, 111 00:06:07,240 --> 00:06:09,880 and that is so important. 112 00:06:09,880 --> 00:06:10,880 They need to be... 113 00:06:10,880 --> 00:06:12,320 The tuning needs to be solid. 114 00:06:12,320 --> 00:06:15,520 They need to feel comfortable with exactly how that... 115 00:06:15,520 --> 00:06:20,720 I mean, the tempo changes immediately at 35, immediately. 116 00:06:20,720 --> 00:06:26,320 And always talking to these kids about this part, keeping everything long and full value. 117 00:06:26,320 --> 00:06:34,320 They're gonna wanna go one, two, three, four, a one, and it's four, a one. 118 00:06:34,320 --> 00:06:39,200 You need to make sure that it's longer there, and then two E and a three. 119 00:06:39,200 --> 00:06:40,200 So just making sure... 120 00:06:40,200 --> 00:06:41,200 Not compressing those 16th notes. 121 00:06:41,200 --> 00:06:43,440 Yeah, yeah, don't let it go too fast. 122 00:06:43,440 --> 00:06:45,320 It's just a beautiful little counter melody. 123 00:06:45,320 --> 00:06:51,000 It's cool that the euphonium sound gets to be featured here along with your other mids 124 00:06:51,000 --> 00:06:53,600 like horn and clarinet. 125 00:06:53,600 --> 00:06:59,520 When flute two gets to have that part, so on this piece before, I've had one player on 126 00:06:59,520 --> 00:07:04,280 flute one, maybe two, and then all the rest of my flutes will play the flute two part, 127 00:07:04,280 --> 00:07:08,560 just so that that way we're not constantly saying, okay, flute's too much, flute's too 128 00:07:08,560 --> 00:07:09,560 much. 129 00:07:09,560 --> 00:07:10,560 Yeah, back off, take it down. 130 00:07:10,560 --> 00:07:16,520 Because it is written up really high range-wise for flute and first trumpet on this piece. 131 00:07:16,520 --> 00:07:21,240 So just be aware of that when you're thinking about who you wanna place, can your first 132 00:07:21,240 --> 00:07:26,640 trumpets all sound really good over and over and over up that high F high G. 133 00:07:26,640 --> 00:07:27,640 Yup. 134 00:07:27,640 --> 00:07:31,560 Yeah, and I would make sure that we're using, like Katie mentioned, long-valued notes, but 135 00:07:31,560 --> 00:07:38,520 also firm articulations so that we clearly hear, da, da, da, we wanna hear those note 136 00:07:38,520 --> 00:07:39,520 changes. 137 00:07:39,520 --> 00:07:45,280 On those 16th notes to keep them from compressing, I tell my woodwinds especially to think like 138 00:07:45,280 --> 00:07:49,560 they have Mickey Mouse fingers with those big thick white gloves where they have fat 139 00:07:49,560 --> 00:07:53,280 fingers to help kinda slow their finger speed down. 140 00:07:53,280 --> 00:07:56,240 And like, just don't slur when you first learn it. 141 00:07:56,240 --> 00:07:57,240 Right. 142 00:07:57,240 --> 00:08:00,400 Make sure that they're tonguing it, and then you can add in the slur so that way they don't 143 00:08:00,400 --> 00:08:01,560 compress it. 144 00:08:01,560 --> 00:08:07,400 Each time also the half note needs to drop down here at 37 on the horn and mid-register 145 00:08:07,400 --> 00:08:13,440 instruments so that you can hear flute and trumpet one going into 38 again. 146 00:08:13,440 --> 00:08:18,280 Any time your tubas can play the lower split notes, I would highly suggest it. 147 00:08:18,280 --> 00:08:19,280 Definitely. 148 00:08:19,280 --> 00:08:23,760 It just makes it sound so much more full when you've got your tubas going down that low 149 00:08:23,760 --> 00:08:25,320 on their instruments. 150 00:08:25,320 --> 00:08:30,000 Now I would be, this half-time part comes back a couple of times in this, in measure 151 00:08:30,000 --> 00:08:36,360 38, when the flutes and the first flutes and first trumpets have, and four and one and 152 00:08:36,360 --> 00:08:39,840 two, three, that note jumps out all the time. 153 00:08:39,840 --> 00:08:41,800 I hear da, da, da. 154 00:08:41,800 --> 00:08:45,280 So you wanna make sure that, I hope that wasn't terribly loud. 155 00:08:45,280 --> 00:08:46,840 You wanna make sure that they're floating. 156 00:08:46,840 --> 00:08:47,840 Band and clarinet. 157 00:08:47,840 --> 00:08:48,840 That's all right. 158 00:08:48,840 --> 00:08:53,600 Yeah, and I mean, trumpet can tongue it too if that would help. 159 00:08:53,600 --> 00:08:58,440 If they can't get the G very easily without pushing it out, I don't know. 160 00:08:58,440 --> 00:08:59,440 It's a tough part. 161 00:08:59,440 --> 00:09:03,720 You really have to be careful about who you program on different parts for this piece. 162 00:09:03,720 --> 00:09:09,960 You have a really cool trumpet two and clarinet two feature here at 39 along with euphonium, 163 00:09:09,960 --> 00:09:14,040 so just make sure that they know that they're important, especially trumpet two. 164 00:09:14,040 --> 00:09:17,440 They get to play a different part from trumpet one and they're really important. 165 00:09:17,440 --> 00:09:22,640 Then we have another da, da, da, where they have to make sure that that A to C sounds 166 00:09:22,640 --> 00:09:24,560 really nice in the trumpet section. 167 00:09:24,560 --> 00:09:30,360 And it is this, as we get ready to transition back into the double time at 42, everyone 168 00:09:30,360 --> 00:09:34,440 who has this dotted half note has to go to the rest. 169 00:09:34,440 --> 00:09:37,400 I make them go all the way to the ride cymbal sound. 170 00:09:37,400 --> 00:09:40,640 So the ride cymbal comes back in, the ride cymbal becomes the motor. 171 00:09:40,640 --> 00:09:44,800 Now we don't have the vibes, the ride cymbal becomes the motor while the flutes come back 172 00:09:44,800 --> 00:09:48,000 in with the same melodic idea they had at the beginning. 173 00:09:48,000 --> 00:09:53,640 But this transition, both the transition into the halftime and out of the halftime is something 174 00:09:53,640 --> 00:09:58,320 you are going to have to practice a lot to get the kids feeling really comfortable. 175 00:09:58,320 --> 00:10:01,980 The flute part right here where they do the grace notes, you want to make sure that they 176 00:10:01,980 --> 00:10:03,120 don't rush that. 177 00:10:03,120 --> 00:10:09,080 Da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da. 178 00:10:09,080 --> 00:10:10,440 Not da, da, da, da. 179 00:10:10,440 --> 00:10:12,160 Make sure that they don't rush the grace notes. 180 00:10:12,160 --> 00:10:13,400 They take their time. 181 00:10:13,400 --> 00:10:16,600 The timpani part also is really cool here and important. 182 00:10:16,600 --> 00:10:17,440 Make sure that your timpani are very... 183 00:10:17,440 --> 00:10:18,680 It's functioning as your bass. 184 00:10:18,680 --> 00:10:21,040 Yes, so make sure that they're in tune 185 00:10:21,040 --> 00:10:22,640 so that that way it doesn't detract 186 00:10:22,640 --> 00:10:24,640 from the other sounds happening here. 187 00:10:24,640 --> 00:10:27,240 And again, make sure you have assigned 188 00:10:27,240 --> 00:10:30,160 some sort of breathing system for your flutes 189 00:10:30,160 --> 00:10:32,240 where they're not all trying to take a breath 190 00:10:32,240 --> 00:10:33,800 from 49 to 50. 191 00:10:33,800 --> 00:10:37,200 You've got some students breathing maybe in 47, some in 48, 192 00:10:37,200 --> 00:10:39,960 and then everybody leading into 50, 193 00:10:39,960 --> 00:10:42,240 whatever you need to do so that there's not a gap there. 194 00:10:42,240 --> 00:10:44,120 They're the only instrument other than percussion 195 00:10:44,120 --> 00:10:46,600 that's leading into a full band moment. 196 00:10:46,600 --> 00:10:48,200 And on that timpani, just remember, 197 00:10:48,200 --> 00:10:49,760 because they're functioning as your bass, 198 00:10:49,760 --> 00:10:51,440 there's no wind player playing here as the bass. 199 00:10:51,440 --> 00:10:52,680 It is the bass line. 200 00:10:52,680 --> 00:10:53,880 It's going to be really important 201 00:10:53,880 --> 00:10:55,840 that they're using good technique when they're playing. 202 00:10:55,840 --> 00:10:57,560 They're in the right place on the head of the drum 203 00:10:57,560 --> 00:10:59,760 and they're pulling the sound out of the drum 204 00:10:59,760 --> 00:11:01,720 and not doing a down stroke. 205 00:11:01,720 --> 00:11:03,640 So just really work with your timpani player 206 00:11:03,640 --> 00:11:04,720 to make sure that they understand 207 00:11:04,720 --> 00:11:06,200 the proper way to play that. 208 00:11:06,200 --> 00:11:11,200 Then at 50, this mallet part is really cool 209 00:11:11,200 --> 00:11:13,240 and it gets missed a lot. 210 00:11:13,240 --> 00:11:17,080 It's like a scale coming up underneath the band 211 00:11:17,080 --> 00:11:20,000 and I love it and it's in the bassoon line 212 00:11:20,000 --> 00:11:22,120 and in the euphonium line sort of, 213 00:11:22,120 --> 00:11:23,640 except they have to come down 214 00:11:23,640 --> 00:11:25,360 because of the range of their instrument 215 00:11:25,360 --> 00:11:26,720 not going up too high. 216 00:11:26,720 --> 00:11:31,440 But man, that part really drives the tempo forward. 217 00:11:31,440 --> 00:11:32,920 Just make your kids aware of it. 218 00:11:32,920 --> 00:11:35,600 It's a cool part that is different 219 00:11:35,600 --> 00:11:38,280 from the first time that we've heard this little melody part. 220 00:11:38,280 --> 00:11:42,600 And then you've got the melody line in flute oboe and trumpet. 221 00:11:42,600 --> 00:11:45,800 Again, the counter melody in clarinet one 222 00:11:45,800 --> 00:11:47,720 and trumpet two here. 223 00:11:47,720 --> 00:11:49,760 Everything is very full value 224 00:11:49,760 --> 00:11:52,560 making sure that you're really working hard 225 00:11:52,560 --> 00:11:55,040 to make sure kids don't breathe every four measures 226 00:11:55,040 --> 00:11:57,000 and have a big gap in the sound. 227 00:11:57,000 --> 00:11:58,240 That's going to be the tendency 228 00:11:58,240 --> 00:11:59,800 because they're young players. 229 00:11:59,800 --> 00:12:01,240 So making sure that you again, 230 00:12:01,240 --> 00:12:03,840 assign breathing so that we don't have big gaps 231 00:12:03,840 --> 00:12:04,680 on the bar lines. 232 00:12:04,680 --> 00:12:07,080 And second clarinet gets the melody here 233 00:12:07,080 --> 00:12:10,000 and because of where they are in their range, 234 00:12:10,000 --> 00:12:12,640 like I would have the second clarinets 235 00:12:12,640 --> 00:12:15,240 being really like playing out big and full. 236 00:12:15,240 --> 00:12:17,200 That's going to be the lowest sounding octave 237 00:12:17,200 --> 00:12:19,600 that you have of anyone who's actually on the melody. 238 00:12:19,600 --> 00:12:21,240 So tell those second clarinets 239 00:12:21,240 --> 00:12:22,960 don't shy away from that. 240 00:12:22,960 --> 00:12:26,160 And then the horn part up here does go a little bit higher. 241 00:12:26,160 --> 00:12:28,680 So just make sure you're really listening to the tuning 242 00:12:28,680 --> 00:12:32,480 in 53 of the horn versus the alto part. 243 00:12:32,480 --> 00:12:37,040 And then the trombone get to have this, 244 00:12:37,040 --> 00:12:39,360 get to have the cool little conversational part 245 00:12:39,360 --> 00:12:43,560 along with tenor sax here at 54. 246 00:12:43,560 --> 00:12:45,360 So just bringing that little moment out 247 00:12:45,360 --> 00:12:47,520 is neat along with the horn. 248 00:12:47,520 --> 00:12:50,160 And again, making sure you hear all these different 249 00:12:50,160 --> 00:12:53,600 like one, two, three parts like 55, 250 00:12:53,600 --> 00:12:56,000 you have a different part on every single beat. 251 00:12:56,000 --> 00:12:59,280 And again, leading into 57 252 00:12:59,280 --> 00:13:01,920 because we're coming back up on another halftime moment. 253 00:13:01,920 --> 00:13:03,720 Really overdoing every single time 254 00:13:03,720 --> 00:13:06,680 you have a crescendo coming into the halftime too. 255 00:13:06,680 --> 00:13:08,920 Again, your trumpet one and your flute one 256 00:13:08,920 --> 00:13:11,320 have to be right on time 257 00:13:11,320 --> 00:13:13,160 and your oboe right on beat three 258 00:13:13,160 --> 00:13:15,760 so that that way it moves right together. 259 00:13:15,760 --> 00:13:18,120 And sometimes kids will try to take a breath right there 260 00:13:18,120 --> 00:13:21,120 and just be like, oh, if I just come in on the downbeat of 58, 261 00:13:21,120 --> 00:13:22,960 it's fine, it's not. 262 00:13:22,960 --> 00:13:26,560 That pickup note is a part of the melodic line. 263 00:13:26,560 --> 00:13:29,080 And draw a breath mark between the half note 264 00:13:29,080 --> 00:13:29,960 and the quarter note. 265 00:13:29,960 --> 00:13:32,720 So students know that are on those couple parts 266 00:13:32,720 --> 00:13:34,200 that that's where they're gonna take their breath 267 00:13:34,200 --> 00:13:35,520 so that that way it leads into 58. 268 00:13:35,520 --> 00:13:38,000 That's how everyone else can carry the crescendo 269 00:13:38,000 --> 00:13:40,400 so that they can take a breath 270 00:13:40,400 --> 00:13:42,560 and be ready to come in on the pickup note. 271 00:13:42,560 --> 00:13:44,680 This is exactly like the first time. 272 00:13:44,680 --> 00:13:46,720 So all those same considerations, 273 00:13:46,720 --> 00:13:49,160 you wanna make sure that you do here as well. 274 00:13:49,160 --> 00:13:52,320 And then we get a really fun moment at 64. 275 00:13:52,320 --> 00:13:54,560 This is one of my favorite parts of the whole piece. 276 00:13:54,560 --> 00:13:56,200 It's a bit, now you obviously, 277 00:13:56,200 --> 00:13:58,280 because it's a saxophone choir feature, 278 00:13:58,280 --> 00:13:59,600 it's a little eight bar phrase. 279 00:13:59,600 --> 00:14:02,120 It's not a lot, but it's really important. 280 00:14:02,120 --> 00:14:03,520 It's the only thing going on. 281 00:14:03,520 --> 00:14:04,600 There is no percussion, 282 00:14:04,600 --> 00:14:07,040 there is nothing else going on to support this. 283 00:14:07,040 --> 00:14:10,160 So your saxophones, alto, tenor and barry, 284 00:14:10,160 --> 00:14:11,640 have to sound really good. 285 00:14:11,640 --> 00:14:16,120 And a fun story from a long time ago for me, 286 00:14:16,120 --> 00:14:20,040 back before the eligibility rolls, 287 00:14:20,040 --> 00:14:22,920 my barry player became ineligible before UIL 288 00:14:22,920 --> 00:14:24,160 and I was so stressed out 289 00:14:24,160 --> 00:14:26,760 because I was like, oh my gosh, I picked this for you guys. 290 00:14:26,760 --> 00:14:29,520 And so I ended up having to have my bass clarinet play 291 00:14:29,520 --> 00:14:31,680 and it was fine, it sounded beautiful as well. 292 00:14:31,680 --> 00:14:33,440 But keep that in mind if you're playing this 293 00:14:33,440 --> 00:14:35,800 for like a spring festival or something like that, 294 00:14:35,800 --> 00:14:38,280 where eligibility rolls may not come into play. 295 00:14:38,280 --> 00:14:40,280 Make sure you program appropriately. 296 00:14:40,280 --> 00:14:41,120 That's right. 297 00:14:41,120 --> 00:14:43,000 Or have a backup system, you know, 298 00:14:43,000 --> 00:14:45,080 okay, if our barry sax player is not available, 299 00:14:45,080 --> 00:14:47,760 bass clarinet's gonna play or whatever it might be. 300 00:14:47,760 --> 00:14:50,080 And of course the tenor and barry are cued 301 00:14:50,080 --> 00:14:51,440 in clarinet and bass clarinet, 302 00:14:51,440 --> 00:14:53,080 but the alto part isn't cued anywhere. 303 00:14:53,080 --> 00:14:56,680 So it really is supposed to be a saxophone lead. 304 00:14:56,680 --> 00:14:58,480 So even if you need to thicken it up, 305 00:14:58,480 --> 00:15:00,480 if you need to thicken it up with some clarinet 306 00:15:00,480 --> 00:15:02,640 to support the tenor-barry part, that's fine. 307 00:15:02,640 --> 00:15:04,320 But we definitely wanna make sure 308 00:15:04,320 --> 00:15:06,080 that we have that saxophone color. 309 00:15:06,080 --> 00:15:07,840 And I would have my saxophones 310 00:15:07,840 --> 00:15:10,680 like smother this section with vibrato and shaping. 311 00:15:10,680 --> 00:15:13,160 For sure, and I was gonna say 67 to 68 312 00:15:13,160 --> 00:15:15,960 is such a big, beautiful moment in the alto one part, 313 00:15:15,960 --> 00:15:17,920 making sure that they have a crescendo written in 314 00:15:17,920 --> 00:15:20,680 on their part, leading us in and barry sax 315 00:15:20,680 --> 00:15:23,200 every single time that they have the quarter note 316 00:15:23,200 --> 00:15:26,120 slurring down, make sure that they really bring that 317 00:15:26,120 --> 00:15:28,760 out of the mix, and then it ends 318 00:15:28,760 --> 00:15:32,240 with just a beautiful note going into 72. 319 00:15:32,240 --> 00:15:33,360 And again, make sure- 320 00:15:33,360 --> 00:15:34,360 Seamless sound. 321 00:15:34,360 --> 00:15:36,320 Seamless sound, like make sure that they've got 322 00:15:36,320 --> 00:15:38,360 a breathing plan so that they don't take a breath 323 00:15:38,360 --> 00:15:39,960 right before 72. 324 00:15:39,960 --> 00:15:42,240 Then your band has to creep in here. 325 00:15:42,240 --> 00:15:44,160 I know it's marked mezzo forte. 326 00:15:44,160 --> 00:15:47,720 I think I have told all of the times I've played this piece. 327 00:15:47,720 --> 00:15:49,720 We come back in at a mezzo piano, 328 00:15:49,720 --> 00:15:51,800 because it's a piano moment in the saxes 329 00:15:51,800 --> 00:15:55,920 and we sneak in on this long note and then crescendo. 330 00:15:55,920 --> 00:16:00,600 And it's an opportunity for them because the whole ensemble, 331 00:16:00,600 --> 00:16:03,360 except for the saxophone choir, is coming off of a rest. 332 00:16:03,360 --> 00:16:06,280 It's an opportunity for at least a two-count breath. 333 00:16:06,280 --> 00:16:08,720 And so I would write that into the music, 334 00:16:08,720 --> 00:16:10,080 and of course, as you're conducting this, 335 00:16:10,080 --> 00:16:12,240 I would breathe with the players 336 00:16:12,240 --> 00:16:14,000 as they're getting ready to enter. 337 00:16:14,000 --> 00:16:17,120 And that will help make that entrance a little bit more 338 00:16:17,120 --> 00:16:20,240 secure and help to align it as well. 339 00:16:20,240 --> 00:16:22,520 This is a lot like the beginning. 340 00:16:22,520 --> 00:16:26,720 Again, now we're up in the higher register, in the flute, 341 00:16:26,720 --> 00:16:28,960 clarinet one, trumpet one part. 342 00:16:28,960 --> 00:16:29,920 So again, just make sure that you're- 343 00:16:29,920 --> 00:16:31,360 It's just like what the sax choir played, 344 00:16:31,360 --> 00:16:33,680 that now we get to fill it out with the ensemble. 345 00:16:33,680 --> 00:16:36,880 And just make sure that everybody sounds really in tune. 346 00:16:36,880 --> 00:16:40,640 There's a lot of moments for it to sound a little scary here. 347 00:16:40,640 --> 00:16:42,800 So don't be afraid to say, OK, we're 348 00:16:42,800 --> 00:16:46,320 going to play and hold the first note of measure 78 349 00:16:46,320 --> 00:16:47,440 and make sure it's good. 350 00:16:47,440 --> 00:16:51,680 And then now we're going to play and hold the second note of 78. 351 00:16:51,680 --> 00:16:53,680 I know that I've had to do that a lot here, 352 00:16:53,680 --> 00:16:55,520 because it is more thickly scored, 353 00:16:55,520 --> 00:16:57,960 just making sure that you can hear the voices that you want 354 00:16:57,960 --> 00:16:58,720 to hear. 355 00:16:58,720 --> 00:17:01,840 And then we get another little suspended cymbal roll coming 356 00:17:01,840 --> 00:17:05,400 into 80, and these little bell tone features here. 357 00:17:05,400 --> 00:17:07,200 First time we've seen an accent. 358 00:17:07,200 --> 00:17:09,480 Yep, and I love this little part. 359 00:17:09,480 --> 00:17:12,880 And then they have to back out of the way at 82. 360 00:17:12,880 --> 00:17:16,200 And I call these notes, like this is a Lynn Jackson thing, 361 00:17:16,200 --> 00:17:18,480 but we ping those notes. 362 00:17:18,480 --> 00:17:20,240 We want to make sure they're like bell tones, 363 00:17:20,240 --> 00:17:23,400 so we want to make sure that we are pinging the start of every 364 00:17:23,400 --> 00:17:24,000 one of those notes. 365 00:17:24,000 --> 00:17:26,120 And then they back out of the way at 82, 366 00:17:26,120 --> 00:17:27,760 so you hear the smooth. 367 00:17:27,760 --> 00:17:30,240 Da, da, da, da, da. 368 00:17:30,240 --> 00:17:32,280 And the flute trill in the oboe trill 369 00:17:32,280 --> 00:17:34,640 needs to be not very loud. 370 00:17:34,640 --> 00:17:37,000 I mean, it's written on a high E flat for flutes, 371 00:17:37,000 --> 00:17:40,480 for goodness sake, which is already a sharp note and trill. 372 00:17:40,480 --> 00:17:43,720 Just make it be a solo player, and then your little other 373 00:17:43,720 --> 00:17:46,680 rest of your flutes can play the regular fourth space 374 00:17:46,680 --> 00:17:47,680 E flat with the oboe. 375 00:17:47,680 --> 00:17:48,440 That's fine. 376 00:17:48,440 --> 00:17:50,800 And that trill needs to be fast, and it 377 00:17:50,800 --> 00:17:54,560 needs to go a full six beats all the way to the downbeat, 378 00:17:54,560 --> 00:17:56,000 both times that it happens. 379 00:17:56,000 --> 00:17:58,040 And then your suspended cymbal here 380 00:17:58,040 --> 00:18:03,280 is the main rhythm on the bell tones here at 80 and 84. 381 00:18:03,280 --> 00:18:06,600 So just make sure that your player on the ride cymbal, sorry, 382 00:18:06,600 --> 00:18:08,560 is right with you on the beat. 383 00:18:08,560 --> 00:18:09,080 And then. 384 00:18:09,080 --> 00:18:10,280 And that's the conversation. 385 00:18:10,280 --> 00:18:11,840 We're doing this two measures of wins, 386 00:18:11,840 --> 00:18:14,040 two measures of percussion, two measures. 387 00:18:14,040 --> 00:18:18,120 And then at 88, you get to have the upper wood wins taking 388 00:18:18,120 --> 00:18:18,720 over the melody. 389 00:18:18,720 --> 00:18:23,040 Again, we do have some upper C's here in the low brass at 89 390 00:18:23,040 --> 00:18:25,360 that are usually out of tune and flat. 391 00:18:25,360 --> 00:18:27,720 So make sure you talk about that tendency. 392 00:18:27,720 --> 00:18:30,400 Then we have the trumpets coming in, the upper trumpet, 393 00:18:30,400 --> 00:18:32,600 on one part on a high D. So again, 394 00:18:32,600 --> 00:18:36,720 talking about the tuning versus the C and the oboe and the flute. 395 00:18:36,720 --> 00:18:40,280 And then we're passing around this little waterfall effect. 396 00:18:40,280 --> 00:18:43,040 One and two, one and two. 397 00:18:43,040 --> 00:18:45,600 And then the low tone, tone, tone, tone, tone. 398 00:18:45,600 --> 00:18:47,320 It's just this is such cool writing. 399 00:18:47,320 --> 00:18:48,200 I just love it. 400 00:18:48,200 --> 00:18:50,440 And then making sure that, again, we're really 401 00:18:50,440 --> 00:18:52,960 going all the way through every single bar line. 402 00:18:52,960 --> 00:18:55,680 Again, we're going to lead up into 96 403 00:18:55,680 --> 00:18:57,680 for our next little halftime moment. 404 00:18:57,680 --> 00:18:59,680 But the first trumpet is a little different here. 405 00:18:59,680 --> 00:19:00,480 Now the first trumpet. 406 00:19:00,480 --> 00:19:01,240 And the first flute. 407 00:19:01,240 --> 00:19:03,600 And this, yes, first flute and first trumpet. 408 00:19:03,600 --> 00:19:04,840 And I love this part. 409 00:19:04,840 --> 00:19:09,680 But their part, they need to be strong. 410 00:19:09,680 --> 00:19:12,960 It is like the cherry that sits on top of the Sunday. 411 00:19:12,960 --> 00:19:14,840 But it's got to be strong. 412 00:19:14,840 --> 00:19:17,480 And it needs to be heard because it's new. 413 00:19:17,480 --> 00:19:18,720 It's something, it's a different way 414 00:19:18,720 --> 00:19:20,040 that we've heard this before. 415 00:19:20,040 --> 00:19:23,080 But it cannot be shrill. 416 00:19:23,080 --> 00:19:26,240 It has to be, I mean, it has to be complementary to what 417 00:19:26,240 --> 00:19:28,120 is going on to the rest of the ensemble. 418 00:19:28,120 --> 00:19:31,880 And then again, they're leading with the and for and going 419 00:19:31,880 --> 00:19:33,760 into 98 each time. 420 00:19:33,760 --> 00:19:35,360 As you just mentioned, making sure 421 00:19:35,360 --> 00:19:37,800 that we're still in tune on that long note. 422 00:19:37,800 --> 00:19:42,160 Again, helpful if your low tubas can go down the octave there 423 00:19:42,160 --> 00:19:44,560 to kind of fill that out. 424 00:19:44,560 --> 00:19:48,200 And then 99 to 102. 425 00:19:48,200 --> 00:19:53,120 We're kind of getting softer going into this double time 426 00:19:53,120 --> 00:19:54,000 again. 427 00:19:54,000 --> 00:19:57,880 And then we have the same thing we just had one and two, 428 00:19:57,880 --> 00:19:59,320 one and two. 429 00:19:59,320 --> 00:20:01,840 Little conversational when you don't have the moving eighth 430 00:20:01,840 --> 00:20:05,840 notes, you want to bring your volume down so that we can hear 431 00:20:05,840 --> 00:20:07,800 the moving notes. 432 00:20:07,800 --> 00:20:11,800 Then we have this cool horn and sax and clarinet feature. 433 00:20:11,800 --> 00:20:14,960 One, two, three, one and two. 434 00:20:14,960 --> 00:20:16,720 And it's so important. 435 00:20:16,720 --> 00:20:19,360 Yeah, and you want to make sure that they do the accents 436 00:20:19,360 --> 00:20:23,440 and that they crescendo into 108. 437 00:20:23,440 --> 00:20:25,000 One time when I played this piece, 438 00:20:25,000 --> 00:20:30,200 my mentor told me to do quite a bit of retardando here 439 00:20:30,200 --> 00:20:31,640 starting at 108. 440 00:20:31,640 --> 00:20:34,520 So we did each measure just really 441 00:20:34,520 --> 00:20:36,480 got to have a full moment. 442 00:20:36,480 --> 00:20:39,800 I treat it like I start the retardando where it's written. 443 00:20:39,800 --> 00:20:42,560 But then at 108, I treat it like every measure is basically 444 00:20:42,560 --> 00:20:43,600 a fermata. 445 00:20:43,600 --> 00:20:47,520 So, and then we start at 108 a little softer 446 00:20:47,520 --> 00:20:50,520 and kind of build to the end, making sure 447 00:20:50,520 --> 00:20:52,640 that the kids know if your note changes. 448 00:20:52,640 --> 00:20:55,320 It's more important that if your note stays the same. 449 00:20:55,320 --> 00:20:57,440 So I think it's kind of the same idea. 450 00:20:57,440 --> 00:21:01,400 And starting at 110, we added a timpani roll there. 451 00:21:01,400 --> 00:21:04,440 And on the last three notes, the timpani's 452 00:21:04,440 --> 00:21:08,480 rolling to kind of make that just sound really extra final. 453 00:21:08,480 --> 00:21:11,200 And the timpani is strong at the end. 454 00:21:11,200 --> 00:21:13,080 Like, I think it sounds really cool 455 00:21:13,080 --> 00:21:15,720 when you can teach the kids to play it that way. 456 00:21:15,720 --> 00:21:17,960 Just a big, beautiful chord at the end 457 00:21:17,960 --> 00:21:20,400 and restructure that chord however you need to. 458 00:21:20,400 --> 00:21:24,000 Like, again, I would not have my a bunch of first flute 459 00:21:24,000 --> 00:21:26,240 screaming on the high E flat. 460 00:21:26,240 --> 00:21:29,360 I do love that he wrote the trumpet part down the octave 461 00:21:29,360 --> 00:21:29,600 here. 462 00:21:29,600 --> 00:21:31,080 Thank you so much. 463 00:21:31,080 --> 00:21:34,600 So that way they're ending in a more normal range 464 00:21:34,600 --> 00:21:35,640 for their instrument. 465 00:21:35,640 --> 00:21:40,800 But just really bringing out the low line here at 108, 466 00:21:40,800 --> 00:21:44,200 not letting the flutes scream, scream, scream. 467 00:21:44,200 --> 00:21:46,000 And clarinet too. 468 00:21:46,000 --> 00:21:47,840 Like looking at clarinet on the very last note, 469 00:21:47,840 --> 00:21:49,280 this is an E flat major chord. 470 00:21:49,280 --> 00:21:51,760 And the clarinet is playing an F throat tone A, 471 00:21:51,760 --> 00:21:53,680 which is a crazy sharp note on their instrument. 472 00:21:53,680 --> 00:21:55,440 And they're the third of the chord. 473 00:21:55,440 --> 00:21:57,200 So that would be something, what I've done 474 00:21:57,200 --> 00:21:59,440 is I've had my clarinets take it down an octave 475 00:21:59,440 --> 00:22:01,880 because they have a lot more pitch control on a low A. 476 00:22:01,880 --> 00:22:04,520 So they can still play that note and get the third of the chord. 477 00:22:04,520 --> 00:22:08,640 But we're not having to fight the tuning tendencies of an A 478 00:22:08,640 --> 00:22:11,840 when we really want the third of the chord to be a little flat. 479 00:22:11,840 --> 00:22:13,800 Well, we just both really love this piece. 480 00:22:13,800 --> 00:22:14,640 I love heizo. 481 00:22:14,640 --> 00:22:15,600 I love this piece. 482 00:22:15,600 --> 00:22:17,920 So hopefully you can find a way to program it 483 00:22:17,920 --> 00:22:19,920 into one of your future concerts. 484 00:22:19,920 --> 00:22:22,400 And we just love it so much. 485 00:22:22,400 --> 00:22:25,960 Thank you so much for joining us on this episode of Band BFFs.