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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 as Twilight Falls by Robert Sheldon.

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Cheers to starting the conversation!

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This piece is a great introduction to lyrical playing for your group.

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It is beautiful.

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It's in the key of concert B-flat.

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It is 4-4 throughout and it is only about two minutes long.

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There is a split alto clarinet and trumpet part, but they often double each other throughout.

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This piece is so beautiful, as Laura said.

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I love Sheldon's writing and this piece is no exception.

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I think I've played it multiple times in my career with different levels of band.

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I've heard it done all the way into high school sub-non-varsity bands or varsity bands.

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This is a great way to showcase your lyrical playing or to use on a fall concert.

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Your beautiful tone quality.

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It's just really written well.

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There are not very many percussion parts either, so that makes it a very accessible piece to

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everybody.

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It does have optional piano.

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I'll be honest, I have never heard it played with piano before.

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I think that is a decent option if you have a slew of percussionists and one of them plays

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piano well, but do not feel like the piano part is necessary.

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I've heard this piece played several times and I've never heard it played with piano

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before.

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Yes, I echo that as well.

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Here at the beginning, we're only at about 76 to 80 on the metronome.

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Clarinet and alto saxophone get to start out with the beautiful melody.

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Reminder saxes that they're going to color the clarinets.

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This is a piece that's all about the mellow tones of the band, the mellow colors.

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Clarinet, horn, trombone a few times.

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It's just really important to keep those in the back of your mind.

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Always crescendoing through half notes and dotted half notes throughout this piece.

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Then a lot of times the tuba and the bass clarinet and barry come in on beat four and

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kind of beef up the sound of your band and make it sound really full.

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The bass clarinet is written very low for the instrument and it just makes it sound

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so cool.

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Make sure that that bass clarinet player is a beautiful sounding student and can play

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everything with a very long, tenuto tongue to go along with your tubas.

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The way that this is written, you can do a whole lot with working just your woodwind

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choir and balancing that woodwind choir sound and then your brass choir and balancing that

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brass choir sound and putting them together.

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That's a great way to approach a piece like this, especially the way Sheldon has written

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in.

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At measure three, you do have an A natural in the trombone, euphony and bassoon part.

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Then you have an F sharp and alto and a higher A in the flute part.

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Just making sure, again, that we're really listening around and trying to tune whenever

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we have some of those more difficult to tune moments.

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At measure four, you get this really cool French horn moment.

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It is marked accented, but they have tenutos, it needs to be no space.

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Make sure they're tonguing firmly, but they're keeping it very, very legato tongued.

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The altos, again, color the horn, but horn comes out of the mix here.

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Nobody crescendos louder than the horn part.

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Suspended cymbal will help to create that moment.

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Utilize suspended cymbal based on timpani when they have those moments in here.

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They can really help add to that effect.

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At five, the trumpets and the flutes get a moment with the horn and alto also being very

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important here.

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I like to have horn be the focal point at five and flute and trumpet are coloring them.

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Making sure that every time they have the ACG and the horns, that that sounds really

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pretty and not struggling.

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Just make sure that that sounds beautiful there.

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Again, just teaching everybody in your band about sneaky places to take breaths, not on

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bar lines like your low breathing.

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Your low people are going to want to breathe between six and seven.

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Don't allow them to do that.

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Teach them about other smart places to find breaths after dotted half notes, after regular

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half notes if it's a non-melodic part.

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This is just a great teaching opportunity for you as a teacher to just get the kids to

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see some ways that they can elongate phrases and make it sound like there's no gaps.

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I think it's really important.

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Sometimes I think we can use the phrase stagger breathe and maybe with an older, more mature

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ensemble, they can handle that on their own.

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But with younger groups, and I'm sure you've figured out by this point that Katie and I

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are a little bit controlling.

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What?

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How dare you?

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I think it's really important to go down the road with kids and actually on a piece like

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this and be intentional about you are breathing here.

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Your neighbor is breathing here and making students write that in.

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We're big fans of writing things in the music ahead of time, but obviously stagger breathing

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is something that has to be done once the music is in the kids' hands.

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That's a good thing you can do during sectional time for sure.

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At measure seven, you have this really pretty clarinet alto sax, kind of like swaying in

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the wind sound.

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Again, I like it to be clarinet, focal, and not saxophone, but this has the opportunity

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to not move together if they're not watching you.

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So make sure the whole note is underneath and that they're moving right together.

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Eight has Flute and trumpet leading us into nine.

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You should teach that tongue.

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I would start with those eighth notes articulated so that they are getting that right in time,

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and then we can add that slur in later.

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I've also taught it where they crescendo through seven and then they crescendo at eight.

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It just makes it sound like it's leading somewhere.

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And then at eight, it is purposefully written that you're starting stronger and you're

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day crescendoing into nine with that flute, oboe, trumpet part, and bells.

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And bells, don't let bells be too important here.

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Make sure it's again coloring the wind players.

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When we get to measure nine, we have the horn and trombone part and tenor sax that kind

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of take over the melody here.

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It's a beautiful color combination with those instruments.

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You have a lot of the upper woodwinds that are kind of just doing this quarter note accompaniment

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part that is supposed to be supported.

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But the range that this is written in for horn and trombone, you might need to thin

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that out.

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Maybe two players or so on a part there or alternating.

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You play two measures and you play two measures here so that that melodic line in the horn,

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trombone and tenor sax can really come through.

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You also want to make sure that students are not clipping the last note of the slurs short

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on the quarter notes and in the eighth notes, the measures before it.

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And then with the melodic line, not dying away on the half note.

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One and two, don't die away, four, one.

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Making sure they're pushing through that.

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Yep.

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And making sure that they're not all breathing between ten and eleven.

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Again, this is where the breathing assignments come in, making sure that you've been smart

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about that.

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That's where they're going to want to breathe.

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That's exactly right.

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And it's an out of tune note.

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And so just making sure that we're really listening on that C and the trombone part,

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euphonium part.

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The tubas need to tongue really firmly here at ten so it doesn't just sound like another

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whole note.

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It's written to be a different rhythm on purpose and timpani can help out with that as well.

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And then when we get to measure twelve, I love this measure.

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The dotted quarter eighth note pattern here I think is really important and helps us lead

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into measure thirteen.

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So that needs to be played.

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That needs to be the emphasis of the crescendo here.

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And you might even have one player articulate that eighth note to kind of help lead in.

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Just be sneaky about it and that'll help give it a little bit more presence.

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This is like what we had earlier where you hear the melody and the flute and trumpet and

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oboe, but this little conversation happening between alto and horn.

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And like Katie said, I really think that horn part needs to come out and be present.

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That timpani role that you have in measure fourteen is great.

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That's going to help lead into measure fifteen where we go back with these eighth notes.

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We have these eighth notes that come back in.

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Again, we want to make sure that our fingers are moving really evenly.

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All students are moving together.

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And then when we land at measure sixteen, that chord is going to be a chord that requires

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a little bit of attention, just making sure on beat one and then on beat three that you

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are checking the tuning of that chord there.

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And that it's moving together for sure too.

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Definitely.

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And there's these staggered entrances right here.

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So this is another place I think that, like, you might want to bop this to help get alignment

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exactly right initially.

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And then the suspended cymbal timpani and bass drum can really help this feeling of leading

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across the bar line from measure sixteen into seventeen where trumpets get to take over.

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So when the trumpet and the flute and oboe and clarinet get to take over here at seventeen,

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you want to make sure that they're not too bright.

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Flutes are above the staff here.

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You can take it down an octave.

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You can have them have the oboe part.

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If I've had a big flute section and played this piece before, I have done that.

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I've given some of the kids maybe like one the oboe part.

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So that way it's not quite so strident here.

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But they should really shimmer up here.

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Yes.

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As long as they can play it in tune and sound really nice.

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The clarinets go up above, almost up above the staff here too.

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So again, just making sure that this doesn't sound out of tune or too bright above the band.

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The horn has these cool little like beats, three and four moments, like leading tones

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into nineteen.

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Really bring that out whenever you see that.

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Make sure that flute, oboe, clarinet, trumpet are leading through the eighteen dotted quarter

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note.

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

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No breath right there.

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Four and one.

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Right.

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And then I think that the trumpets can all breathe in twenty while you get this cool

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like one, two and three, four from saxophone and clarinet.

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So they get to take a breath there.

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And this is like the one moment.

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This is the sax moment.

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Yeah.

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So I think that's the one and wrote it this way, maybe I'm not sure, but the saxes are

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above the staff here.

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And I think that that's on purpose for them to be a little bit more important instead of

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them coloring other people.

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They get a moment and then clarinet and oboe get to be secondarily important to sax there.

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Then the trumpets come back in on beat four.

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So we have a lot of like four and one, four, one, everything's leading to one.

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Hassing from player to player section to section.

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You have to make sure the kids are listening for that and know when they're important and

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know their role.

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Constituting issues could occur here in the trombone section because we have some divided

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notes and some big jumps here.

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So make sure you're really listening.

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And maybe if you want on that divided part, just to pick like one trombone, one euphonium,

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one bassoon and have everybody else play the lower part, it's up to you and what works

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best for your group.

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And then again, like I was mentioning, we're going pickups into twenty one, but this time

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it's just the trumpets with the melody.

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So we have to make sure everybody else is softer underneath them.

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And then we have this cool little effect here where again, everybody starts louder and then

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gets softer into twenty three.

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And then we have this cute little one, two, three from flute oboe bells.

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And you want to make sure that that's pretty tongueed a little bit firmer.

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I've told my flutes to play it kind of like accented with little shimmers of vibrato on

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each part.

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And actually it says minus oboe.

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I forgot about that.

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It's flute only.

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The flutes are the ones playing this.

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So you have to make sure you've divided your flutes out.

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Maybe if the first flute part's too loud or out of tune on the upper C, then just have

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one person play that and everybody else play the lower.

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Again, whatever works for your notes.

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Of course it's in bells too.

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And then the trumpets again are taking over the melody on beat four after them.

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And again, the trumpets are the only ones on the melody and this has been a difficult

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spot when I've played this piece before to hear the trumpets without them having to work

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too hard.

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So you have to tell everybody else in the band to be at a piano level and maybe only

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getting up to like mezzo piano mezzo forte by like 25.

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They do not need to be a full forte.

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That way the trumpets can continue to be heard out throughout the band.

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Then you have the flutes and the oboe's coming in again on beat four leading us into 26.

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And the big suspended cymbal roll going in and then timpani kind of helps with that

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arrival moment right at measure 26 as well.

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Yes, and one time that I played this piece, I actually did, I mean this might be totally

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weird, but I did have my timpani player play with those like wooden timpani mallets just

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so that you could hear that one like rough really good.

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So it's worth a try.

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You want that to be a focal point.

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Yes.

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Because it's like that's a big moment in the piece for sure.

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Then you're coming down from there and you're day crescendoing one foot tap at a time to

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the trumpets having again.

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Now the trumpets get the little bell tones one, two, three.

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And that's not an easy range.

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The trumpets really probably should not take a breath after that long note because it's

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hard to reset your face for that E, at least for the first trumpets.

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And again like what I said with the flutes, maybe audition it and there's one kid on the

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first trumpet, everybody else on the second trumpet, whatever works for your group.

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And then the low people have a beat four entrance this time leading us into 28.

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When we get to 28, this is kind of like what we had at the beginning.

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So this is clarinet lead with saxophone color and adding those low voices in and 29 pickups

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on beat four making that very apparent of a firm tongue and making sure that there's

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no gaps in the sound between the pickup note and what comes after it.

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Flute and clarinet there at measure 30.

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And then of course we get the horn and saxophone again.

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This is just like the beginning where we don't want space between these lifted, these accented

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and tenudo notes here.

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We want a firm articulation but no space as we are taking this to the end.

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Again, this is all more of the same.

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Trumpet flute oboe comes in with the melody at 32 and counter melody.

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And this is really important.

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Yes, it should sound like they're conversing with each other like the horn part one, two,

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three, trumpet on four.

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Four, one, two, three, trumpet and flute on four.

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So you want to make sure that you can hear each of those one, two, three, four entrances

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between those voices.

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And I would isolate those voices and work on exactly that to make sure that it is conversational,

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seamless and that you can hear all those parts equally.

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And they sound like they're touching.

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Exactly.

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It doesn't sound like one, two, three, four, one, two, three, four.

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You want to make sure the beat four is just as full as the other parts.

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Again more of these eighth notes like we had in the clarinet and saxes like we had earlier

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making sure our fingers are moving together.

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This retardando at the end with all of these eighth notes is something that will need to

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be isolated and practiced a lot.

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Practice that just counting, counting and fingering.

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Practice it without the slur.

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Have half of your kids counting, half of your kids playing like all different types of ways

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to make this retardando happen together and in time.

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And students will want to either make the slur stop going from 35 to 36.

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Getting their air.

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They won't breathe because you'll have told them not to do that.

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But yes, they'll stop their air and then they'll start again at 36.

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So the last thing you should hear is that clarinet and sax on the and a four and that's

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really just so important.

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I would encourage them to do very little decrescendo there to really help everybody to hear the

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eighth notes going in.

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Everybody else can do it.

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They are the pulse.

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Right, right.

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And that arrival point at 36 is not loud, but it needs to be very in tune with lots of vibrato

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because they're going to sit there for a while.

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Trumpet two needs to kick on their thumb slide leading into this last little part and the

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retardando continues on.

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So they're these beat three and beat fours are going to be slower and right on the beat

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the just watching really carefully.

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And then that final arrival point at 37 is a beautiful chord.

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And I think it man, if you can make that shine with the two buzz down nice and low, I would

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hold that sucker for a long time.

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As long as you can with a beautiful sound.

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Yes, yes.

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And then the saxophone gets that little like gets that little color moment.

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So just encourage them to lean into it not to be annoying about it.

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You know, just to make it be just a beautiful last chord.

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I just love this piece so much.

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I hope you guys will consider using as Twilight Falls and one of your upcoming programs.

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I think I might go back and use it again next year because I forgot how much I love this

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beautiful.

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It is beautiful.

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Well, thank you so much for joining us on this episode of Band BFFs.