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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 will be discussing Tripwire by Jarod Hall.

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Cheers to starting the conversation!

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Alright, Tripwire is a great two on the Texas PML and it's a pretty new piece.

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This was written in 2020.

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It is in the key of concert E flat or C minor.

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It is about three and a half minutes long.

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And it is a great piece.

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Every section gets to be featured in this piece.

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It's one of the reasons that kids really like to play.

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And percussion is really cool on this piece as well.

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There's lots of percussion and all the percussion parts are important.

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Now I will say one of the things that I think is that makes this piece a little bit more

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challenging is it is rarely 2D band.

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There is a lot of thinned out scoring in this and it makes it really cool.

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But it also makes it a little more challenging.

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Also lots of style in this piece.

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Lots of staccato, accent, tenuto, lots of style.

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Here at the very beginning, like Laura just mentioned, it starts off with a bang at the

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beginning and then it's very, very thinned out immediately with just percussion playing.

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You want to make sure you have a really, really confident pulse wise marimba player.

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Then you get little features with tambourine, fiber slap, you know, it's really cool.

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The kids really like it.

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You got a big bass drum hit on beat two.

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And then like a response from the other voices as they're coming in here with staccato sounds.

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It's supposed to sound like you're trip wiring a security system.

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So the kids just love playing this piece.

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Then we've got another beat, three entrance here from the same voices, a little snare

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drum added in for color and effect, timpani leading us into the nine.

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I want those half notes to almost feel like bell tones.

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So like a really firm articulation at the start.

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We talk about the shape of the sound matching the shape of the cymbal.

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So that is a very clear triangle shaped note leading into measure seven.

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Yep.

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And then we're here at nine.

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And then once we get to measure nine.

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Now you have heard probably Katie and I talk about melody sheets before, but this is a

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piece that I think a melody sheet is absolutely perfect before four.

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We have this melodic line that happens that starts in the tuba and low reeds.

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Two, three, and two and three and four, one, two, three, and and two and three.

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It is so easy to write that out for the whole ensemble and use it to teach all the style,

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all of the notes at one time to everybody because almost every instrument section is

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going to get that at some point in this piece.

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And how cool that the melody starts off with tuba.

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Yes.

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Mr. Hall is a tuba player.

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And I was like, this is so cool, you know, like it's going to make your low people feel

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extra awesome.

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They're going to feel seen.

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Yes.

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Feel seen and feel heard, right?

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Finally, not a whole note.

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And as we continue on in measure 12, there's all these little effects.

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So we've talked about the percussive effects, but there are also wind player effects.

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Like you see this little eighth note, three and four and one that happens in the low brass.

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There are all these types of little musical instrumental effects that happen several

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times throughout this piece.

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They need to make sure that they match articulation on all of that complimentary stuff.

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There's cues in a lot of the low reeds.

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And certainly I suppose it depends on whether you're playing this piece for a contest, a

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festival, or if it's more of a spring concert or a fall concert piece.

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But if it works with the instrumentation of your band, I would have every kid who has

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the cues play this.

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Yeah, because it's just fun.

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It's fun.

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It's thinned out.

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You're not having to worry about the balance between melody and accompaniment here.

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You're really just worried about balance instrumentation.

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Absolutely.

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Once we get it over to measure 17, we have this little rhythmic ostinato that takes over

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in the clarinets and then the flutes get the melody.

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So that ostinato in the clarinets needs to be a really crisp articulation and not cover

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up what's happening in the flute and the oboe.

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And I really like the little grace note feature that Mr. Hall has put here for the flutes and

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the oboe.

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It just gives it a little jaunty feel.

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Makes you imagine a different person sneaking around, not trying to trip the wire.

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So that's pretty cool just to add that little feature in and then just the real short little

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staccato notes here and then continuing with the ostinato.

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Just again, those musical effects, right?

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So with the clarinets, I would have my clarinets and anytime anyone has this ostinato, so it

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passes from the clarinet to the alto sax, I would have them play that with the percussion

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who have the same part so that they hear, like you can see it in the marimba, and then

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it adds in some other percussion.

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So making sure that they are playing that together and they're doing their best to match

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note length on that.

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We start to thicken up the texture a little bit as we lead into 25.

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So we're adding more of the low brass in again as kind of complimentary.

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25 is the first time that the trumpets really get to kind of show off and take the lead

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here.

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And again, they take over the same melody.

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Everyone else in the accompaniment who has the half note and dotted quarter rhythm, making

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sure that that's a really, even though it's mezzo piano, we still want a really firm articulation,

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we're start to all of those notes and emphasizing the accents that happen in the syncopated

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rhythm.

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Yeah, I was going to mention, I've actually never personally played this piece before.

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I have heard it several times and I think it's fabulous.

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But just looking at it from like a non-studied standpoint, I think that the most important

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thing to really make stand out is the style.

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There are a lot of cool staccato features where he's trying to make the person sound

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like they're tiptoeing and then it's going to be really smooth like at 23 and 24.

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And then we have these accents at 25.

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I think the more you can bring out the style and teach the students about that, the better

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just to make it sound even more mature.

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That's right.

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That's what makes it effective.

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That's what makes it sound really cool and really effective.

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All right.

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As we continue moving on, you're going to notice that dynamically we start to bring down the

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dynamics a little bit as we transition, getting ready to go into 35, which by the way, 35

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is the first time that it has been 2D band.

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All right.

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So this we get really soft here and you'll see this, again, this little rhythm one and

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four, one and four.

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And it happens on the same note.

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So the students need to make sure that the articulation is really clear.

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Otherwise that rhythm is especially the soft dynamic.

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Or even make it be an accent.

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Yes.

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Ta, ta, ta.

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Exactly.

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And then that will help to clear up that articulation.

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And then you see it smooth in the trumpet part right above it.

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So just really that differing style is important to bring out.

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And that's where we start the crescendo.

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So you see that when Clarinet and trumpet come in, now we're starting this crescendo

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at 33, leading in.

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We get to measure 35 and this is an impact moment.

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All right.

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And there's even a stick shot in percussion.

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Yeah.

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How fun is that?

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They love doing that.

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Yeah.

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Any type of cool effects in percussion, we always love that.

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So there's also, you'll see in the horn part that there's a rip in the horns.

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So this is a really cool opportunity.

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And in the altos for those instruments to get something that's kind of cool.

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You just, again, want to make sure that the longer valued notes, the flute, the trumpet,

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all of that is not covering up that rhythmic part that's happening underneath it, even

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though they are the melody.

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And we want to make sure that you're watching the tuning.

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Like I would isolate my flute, oboe, clarinet and trumpets on this part and making sure

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that the tuning is accurate.

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You may need to do some alternate fingerings and trumpet if they're pitch on those Ds is

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not consistent.

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Of course, you've got, you know, that fifth partial D against the flute C and the oboe

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C. It's a tuning.

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It can be a tuning nightmare.

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Or maybe this could just be a soloist on the first trumpet part here where it's really

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high just for the time being, and then they can all add back in after this range is definitely

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one of the things that I think makes this a little more challenging.

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We talked about the thinned out scoring and the style considerations, but range as well.

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Like your low brass are going to get all the way up to a high E flat.

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Trumpets are getting up to a G. Clarinets are absolutely crossing the break.

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So, you know, there's, there are range considerations in this piece for sure.

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Again, I just think this is so fun because that, that big impact moment is so cool.

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And it's fun for the kids.

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And then, and then Mr. Hall wrote it so well, you come back down.

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It's like you're sneaking again.

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Again, it's like a chase.

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So the person's getting away.

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The, the thinning out here is neat because you're hearing the trombone part with the

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chromaticism.

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Yeah, leading into the tuba again.

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And then the tubas get to take over the melody again.

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It's just, it's really well written where the kids think it's super fun too.

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And everybody gets a cool, everybody gets a cool part.

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The trombones have this 43.

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Yeah, they get the melody now with the scoop in there.

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So that's fun.

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Yeah, it's just very, it's very jazz.

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It's so cute.

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Lots of jazz techniques.

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Yep.

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A little bit more grace notes and the upper woodwinds here coming in.

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It's easy for that rhythmic ostinato in the woodwinds, especially where it's written in

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first clarinet.

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It's easy for that rhythmic ostinato to get a little bit too loud.

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So I would make sure that if you, if you only have one first clarinet player that can really

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play that piano and with the correct style and that register, that's fine.

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You definitely don't need a ton of people on that, but just making sure that that, that

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ostinato does not cover up the melody.

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Yep.

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Totally agree with that.

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And then it's, it is smartly written though, where there's not a ton of that ostinato again.

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And then we're coming into 51 where the horn and the alto get to come in and it's marked

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legato.

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So make sure that they're playing this style very differently.

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But then you've got the, the, just the shift over with the low brass adding in some accents.

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So making sure that they are doing what's on the page is important.

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You have big timpani features here, kind of like they're the, they're the conversation.

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That's right.

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Yeah.

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So you have a 52 timpani, 53 back to horn, 54 back to timpani.

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So that's a cool little thing for your percussionist to have as well.

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And then again, we're kind of building it up a little bit.

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And then we land on an upper E flat, nope, C in the French horn part.

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So you want to make sure that that's really in tune because they're holding it versus

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the saxophone D.

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You need to add the B key.

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Definitely put the low B key down.

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Definitely be thinking about, you know, maybe that's a solo part where one sax and one horn

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can hold it in tune and not let it be, you know, out of tune.

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That would be super awesome to think about.

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And then they even have to do the decrescendo and that's important because everybody's

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doing that leading into 59.

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So just do whatever works best for your band.

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And as we get to 59, you see now that the flute and oboe take over that melody that

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the altos and horns had before.

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So that more legato style.

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But now we're putting it in the woodwinds.

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So it was a little bit more of a brass and saxophone feature.

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And now we're kind of putting it in just the upper woodwinds.

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And the way this piece ends, like it's a, it's a, it's a fade.

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So those, those dynamics are really important and making sure that your students are able

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to do the stylistic things at a variety of dynamic levels is important.

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In your daily drill, that would be something that I would maybe take a style exercise.

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And articulation or style exercise and have them do it at a variety of dynamics so that

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they're learning how it feels different because it does.

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It feels different to play accents and staccatos forte than it does piano.

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Yep.

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You have this cool little saxophone feature that kind of comes out of the mix at 60.

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So that's fun.

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Again, at lending to the jazzy sound to it.

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And then we have another full band moment here before 67, right around measure 62.

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We end up now, this is another place where there is 2D band.

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And you can see there's basically three different parts that are happening here.

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So making sure that you have prioritized the melody, those moving eighth notes.

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And even though it's slurred, you see the accents.

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So you have to make sure that that is tongued really firmly on the accent and notes that

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we lean into the first note of every one of those accents.

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And then that is complimented by the accompaniment part.

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And if everybody is doing their part, it's really cool.

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Yeah, this tube apart is really neat down here too.

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How it's coming up and ascending.

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And then the triplets, that's super fun.

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I think that this is just really, really a cool impact moment for everybody.

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67 is a recap of that first 2D band moment that we had earlier in the piece.

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You get another rip in the alto and the horn.

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And man, I would let your horns rip if they can.

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And they sound good.

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Let them loose on this because they will, they will love it.

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Now the percussion has gotten a little thicker here.

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So we want to make sure that the percussion are not covering up the band.

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Their part is really, really cool.

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But you want to make sure that it's not covering up the wind players.

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For sure.

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And then again, you see kind of like in the accompaniment that there's lots of accents

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here.

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So just making sure that you can really hear that rhythm.

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And then again, like we talked about before at 67 on these longer notes here with trumpet

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and flute, perhaps do the same thing you did before where you're kind of cutting it down

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where it's not taking over so that it's not louder than the sax and the horn part.

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And also the tuning isn't an issue.

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The flutes are much higher here.

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So just making sure that they don't sound screamy.

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They're floating some of the upper notes.

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But they do get to be fun here, which is, you know, not a nice thing for your little flute

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section.

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And lots of vibrato on those high notes.

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Oh, for sure.

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So we're leading all the way into another humongous fortissimo section here.

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We're all in.

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And then we're kind of thinning out and getting softer again, as Laura mentioned before.

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Yeah.

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So this is another one of those what I would consider an impact moment.

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All right.

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So we're, again, you've got the full band and we want to make sure that we're here.

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I would prioritize the horn and alto line.

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And you'll notice the horn line is split and man, horn gets all the way up to a high F.

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So your horns, you need to have, you need to have really strong horns.

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But that to me is the most important part happening in these two measures.

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And then the low brass kind of takeover to help us thin out before clarinets.

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You have a cool little clarinet solo before 78.

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And then percussion get a whole little chunk of measures here to kind of be featured, which

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is really nice.

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Yeah.

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And it's nice that, again, they get to be featured.

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They're playing forte.

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They need to follow the dynamics too.

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It's like this is another little person, quote, unquote, trying to get away from the burglar

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or whatever.

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So they, they're loud for three measures and they go to piano again and they're going to

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build up that suspense into 82.

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And then this is another really fun, full band moment.

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This is band versus percussion here.

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So, you know, and all of these notes, man, you want to make sure that note length is

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really, really important.

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And then look at some of these notes, like these are not easy for, for all students to

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come in off of arrest on some of these notes.

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So that is something that you need to make sure that, that you practice.

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And with your brass players, I would practice that vibrating that pitch so that they feel

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it before they need to hear it and they need to feel it before they play it.

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And then you've got some cool features here in percussion, like you've got a vibra slap,

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your marimba gets to be the cool little part, making sure that whenever the students come

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back in, like Laura said, we even have trumpets coming in on a high G and flutes are up to

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high F, but the flute part is written split where if you don't have students sounding

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their best up that high, you can have them play the lower notes instead or all of them

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can play the lower notes, whatever fits your band.

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But just really making sure that all the style fits here.

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This would be another great section from 82 to, you know, 80, whatever this is, 86 or

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seven, doing that like on a concert F before you add in trying to make it more difficult.

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Everybody's got the same 2D rhythms here minus percussion, just making sure that kids don't

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come in at the wrong time and trip the wire.

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So that that would be a good thing for you to work on in your daily exercises as well.

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And I would make sure everywhere that we have these quarter notes here at the end that we

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are keeping those quarter notes equal length.

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So like for example, from 83 to 84, when we go from beat four to beat one, the tendency

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for students is going to be to go da, da, da, da, and those notes need to be equal

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length.

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So the note needs to touch the rest da, da, equal length on both of those notes all throughout

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this section.

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Then you've got a forte piano moment here and percussion gets to take the lead again,

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getting into don't let them actually play triple F, but they're going to be excited to

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see that.

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Yes, they are.

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And they have to touch the rest.

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And that is a chord that has to be you've got to spend some time working to balance that

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and helping your band understand what the pitch tendencies are when they crescendo to

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that degree going from piano to even if it's just piano to forte or if you go to a forte

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plus, right?

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There are pitch tendencies.

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They need to be aware of that.

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They need to know how to adjust for those pitch tendencies.

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And I tell my students like if you're on first trumpet flute oboe instruments like that first

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clarinet, you're not even going to crescendo.

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It's going to let the let the bigger instruments do that for you.

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Absolutely.

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And let the percussion help.

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And that's going to help the band to sound way more balanced.

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Then of course, as we get ready to close this out, we have first clarinet and first trumpet

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that kind of bring in this little melodic line.

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Again, we had this earlier, this little chromaticism.

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This becomes almost like another waterfall effect here where this chromatic line kind

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of passes through all of the different instruments or many of the different instruments in the

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band.

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And this time though, it's half note, half note, quarter, quarter, quarter, quarter,

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half note, half note in the waterfall section.

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I think that's just a cool moment and good writing.

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And then make sure again that all of these half notes are balanced, right?

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We're holding these long double whole notes and all of that.

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So we want to make sure that we're working to stagger, breathe in this section and that

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you hear the moving notes are more important.

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So those moving half notes or moving quarter notes are more important than the whole notes.

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And then it ends with your low people taking over and again, really, really full value

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note lengths here at measure 100.

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You've got all the way back down to just percussion playing sneakily like the beginning, little

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tambourine roll to bring in the flutes again for the last little hurrah moment here.

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And then the low people get their moment and then it ends with tuba just like it began.

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It ends like it started.

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That's right.

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It's all ending because it's, you know, how often do you have just like one or two instruments

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playing at the end of a piece?

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It's really, really great.

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Kids just love this piece because it's got so many cool moments in it.

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Everybody gets a moment of glory.

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And it's just, it's fun.

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It's got a lot of cool effects in it.

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It is fun.

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Lots of style considerations, lots of dynamic considerations, but fun for every every instrument

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and some cool effects.

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So we hope you guys will consider programming Tripwire into one of your future concerts.

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