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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 are going to be discussing Tancho Zuru by Randall's Dandridge.

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Cheers to starting the conversation!

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This is a great piece of music.

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Many of you who have ever played Brave Spirit, this is kind of like the Brave Spirit light.

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That's how I think of it.

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It is in the key of E flat all the way through.

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It's two and a half minutes long.

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It's in 4-4 time.

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Has a lot of stylistic considerations for your students.

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Ranges are great.

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It's split clarinet parts, but they never go above the break.

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Which is awesome.

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The split trumpet parts, trumpets get up to a D, fourth line D.

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But the important thing is you do need some depth in your low brass section.

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The euphonium part often does not double the trombone.

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Trombone 1, 2 and euphonium are different parts.

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In typical standard music, as you know, lots of percussion and everything is important

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in the percussion section.

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Yep.

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Lots of cool effects that we are going to discuss today too in the percussion section.

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Just starting off right at the very beginning, like Laura said, lots of style.

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You're coming in very joyously.

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The tempo is a very manageable, reasonable 120.

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It's about two and a half minutes in length.

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Make sure that you've got these beautiful accents at the beginning with a good forte

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piano really working with your students on getting out of the way in measure two, letting

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the flute and the tuba come in with the low reeds and then the low brass coming in with

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the conversation.

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It's important that the flute, bass clarinet, tuba, etc., that come in on beat four of measure

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one, that they also play that kind of like a bell tone.

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So they come in quick, strong on an accent and then jump out of the way.

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If you've listened to this podcast before, don't always love trills.

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I think they can sound really shrill.

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Maybe consider only having one or two flutes play it or one up the octave, one down the

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octave matching the oboe player.

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Really up to you on what works for your band, but just a thought.

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Make sure that when your low brass come in in measure two, when your middle to low, low

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reeds are doing really good matching style, beat four goes all the way to the barline

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for measure three to take over again with the same people again with accent and style.

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And we talk about that being just like a concert F around the room, right?

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Touching sounds, no gaps in the sounds as we're going from section to section.

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Yep, that's so important.

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The china symbol is really a cool effect at the beginning.

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Make sure that you can hear that, but it can be too loud.

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It is really common when you have this china symbol and the suspended symbol crash.

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It's such a cool effect.

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It definitely gives it that Asian feel in the music, but it can overpower everything.

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So the kid who is playing at the student needs to have the right type of finesse so that

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that doesn't get too loud.

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Yep.

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So we're going on beat four of measure three again backing the flute tuba add ins down

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a lot and again, allowing a really good firm articulation in the low brass here.

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Just really make sure that that sounds nice.

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And again, leading all the way through same exact type of thing here going into measure

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seven at seven.

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We have a really cool stylistic moment here.

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We have the tenudos followed by the staccatos.

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Whenever I have heard this piece before.

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I always think it sounds like little crane legs like coming up out of the water and they're

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like really long and graceful.

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And then they're like tiptoeing on the staccatos.

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So you know, saying that sort of stuff to your students can give them a really good

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like image when they're trying to do the great style in this piece.

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Then a big timpani moment at measure eight leading us into nine.

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So a couple of other quick things here, making sure that that tenudo quarter note on beat

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three of measure eight goes all the way to the rest.

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It's a unison to new do quarter for everyone.

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So that needs to be a full body of sound note.

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And then every time in the percussion section, when there are on this snare part, when there

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are accents written, they are really, really important.

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So make sure that your snare player is keeping their taps low and bringing the accents out

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so that it gives a little bit more melodic feel to what they're playing.

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At measure nine, we start to transition here.

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We set up this little rhythmic ostinato in the trumpet section and start layering in

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clarinet, horn and alto.

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Now the trumpets often throughout this whole piece are in open fifths.

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The first and second trumpet parts are split in open fifths.

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So they need to sound really good on those open fifths.

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That is something that we would in our daily drill, we would split our trumpet section

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or split the band, but having half the trumpet section playing a B flat remington and half

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the trumpet section playing an F remington so that they are getting used to hearing themselves

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in those fifths.

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That's going to be really, really important.

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Really style on that ostinato is incredibly important, making sure we get da, di, di,

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da, di, di.

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We talk about the staccato notes being softer than the tenudo notes around them.

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The tenudo notes need to have a little more weight and a little more presence.

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And then the staccato notes just being light and crispy and softer than the other notes

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around them.

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We transition into 13 where we get this first statement of the real melody here that is

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by the flutes and oboes.

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And real quick, whenever they do come in, it's easy for the trumpets to overpower the

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flute and obo when they come in.

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Just because it's louder and it's really full.

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So it might be a good idea to go down to one on a part at 13 in the trumpet section.

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And this horn part is really beautiful by the way whenever it comes in and it keeps

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coming in being like the, just the background music and the call and response.

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So just make sure your horns are heard and present whenever they do come in as well.

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And clarinet throughout this, clarinet and alto, when they double the horn, they really

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need to color the horn sound.

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The horn should be the one that's leading this.

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Now this is really an endurance challenge for the trumpets when you look at all of this.

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So what we would do, kind of like Katie mentioned thinning it out, we would do like two measure

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pass offs, trade offs.

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You know, you three kiddos are playing these two measures and then we go to the next three

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kiddos so that they didn't have to, like that's hard to sit there on a C, third space C for

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those first trumpets for a long time.

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That's an endurance thing.

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So anyway, there's some different ways that you can kind of work that.

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So, and your low brass have to be able to stagger breathe here because it's not low

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brass, it's tuba and then low reed.

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Berry sax and bass clarinet.

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So you could have as few as only three people playing this part, right?

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And so it's important to discuss ahead of time, like you're going to breathe after the

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dotted half note and 14, you're going to breathe after the dotted half note and 15.

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That way they're not all breathing every two measures.

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That's a good thing.

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And typical tuba low reed style.

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With this statement of the melody at 13 and flute and oboe, this is the first time that

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we've heard this little melody.

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So one of the things that we hear often, first of all, I know that it says the grace notes

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are optional.

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You really should play the grace notes if you can.

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All right, but you don't need more than one person to play them.

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You can pick one flute player to play them and have everyone else leave them out or two

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flute players to play them, have everyone else leave them out, leave them out and you still

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get the effect that the grace notes offer.

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But one of the things that young musicians do a lot is they slur into the grace note.

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So we hear ta-ya-ya instead of ta-ti-ya-ti-ya.

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So making sure that they're articulating the grace note and be very, very particular.

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That's how we would select our students who could play the grace note.

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If they could play it for me and articulate correctly, make the grace note close enough

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to the down here.

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Really, really quick grace notes.

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Then they would be hired for playing the grace note there.

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But again, this is the first statement of the melody.

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We add the altos, four measures and bells, four measures later to kind of beef up the

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melody and then you get this very cool counter melody that's happening in the horn and clarinet

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part.

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This is really important.

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You want to make sure that we're balancing those two parts out equally so that we hear

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the melody and the counter melody equally here.

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Yep, and I love that horn part.

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It's just really, really pretty when it's done well.

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So just make sure that you spend some time teaching that and making that sound just absolutely

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beautiful.

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And in tune.

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And in tune, yeah.

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As we're going into 21, you want to make sure that all the students are, of course,

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following through all the way to the barline.

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There should be zero gap here as we go from 20 to 21.

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You got a little bit of percussion to help you out there.

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At 21, we get this really neat bells part.

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They're kind of like the metronome for you.

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And we have a two wood blocks part where you can experiment.

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You can decide if you want to play it on two different sounding wood blocks or even temple

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blocks.

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We did temple blocks just because it was a little bit easier and you can, you have a

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little bit more flexibility if you do that on the sounds that you want.

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You know, you might like a really high sound and a medium sound or too closer to pitch

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sounds, but you have a little bit more flexibility if you use temple blocks here.

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Yep.

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And this is like a quieter section in general.

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It's supposed to sound like, you know, you're just swaying in the breeze and you're, it's

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just like beautiful.

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You got the little wind chimes effect.

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Everybody is metropiano here.

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The clarinets, of course, are the melody and that is awesome because they are under the

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break the whole time.

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They can sound big and full and beautiful.

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They can do a lot with phrasing here, you know, crescendoing for two, decrescendoing

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for two, anything that you feel would fit your band well.

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I just think that it's written really well.

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It's very important that the low brass here at 21 are very quiet, but also very in tune

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because these are your chords right here and we really want to settle in and make sure

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they're moving together and that they're in tune.

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Then we have a nice little horn moment again at 24 along with alto, flute, oboe, but again,

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try to make that be about the French horn if possible.

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And that horn goes up to a D and you want to make sure that you have a player that can

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play that with a really good sound that should sound very relaxed and not strange.

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Yeah.

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And a couple of times when I've adjudicated this piece, the horn section has all played

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here and it hasn't sounded easy or metropiano for that matter.

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So it would maybe even be worth you auditioning it down to one on a part or two people that

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can really make it just sound floating and beautiful and, you know, swaying in the breeze.

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So that's just an idea.

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The triangle adds in just as another little color point and again, the clarinets are continuing

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this melody with the upper people underneath them.

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As you're going into 28, the snares are going to be off and we're going to crescendo going

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into 29, but make sure you don't crescendo too much because again, we were metropiano.

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Now we're really going to still stay pretty soft even though it's marked forte for flute

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and clarinet because that's not super duper loud.

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And when that leads in at 28, when you land at 29, it's just those upper woodwinds, dee

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ah, dee ah, and they need to play that with control.

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Just like Katie said, that crescendo needs to be effective, but it shouldn't be so loud

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that it makes it sound almost strident when those upper woodwinds come in at 29.

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Right.

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You don't want it to sound weird like everybody's so loud and then all of a sudden it's really

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quiet because it is leading into that moment.

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Then the trumpets take over the melody.

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And at measure 30, this is one of my favorite sections.

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I think that Randall's standards, of course, uses percussion in such a great way on all

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of his writing.

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Here we have a marimba, which is really functioning like the motor.

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So one and two and three and four and one and two.

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And you get that really cool pentatonic sound that's helping us with that whole, that Japanese

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theme that we have.

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Trumpets take over the melody here.

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And it's real important that trumpets, that their technique with the way that they move

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their fingers on those staccato notes and articulate those staccato notes is really,

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really clean.

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They are all by themselves for four measures here.

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And again, with those grace notes, we only had one kiddo play those grace notes.

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We did not have the entire section play those grace notes.

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I think it can become a timing nightmare, especially if you've got seven or eight or

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more trumpets in your trumpet section.

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I totally agree with that.

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I think you can make this sound really stellar if you think smartly about who gets to play

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the grace notes.

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That's exactly right.

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And then again, talking about really good writing here, like at measure 33, you want

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the trumpets ideally to not breathe after that half note on the bar line.

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And one of the things I think Standridge has done really well is he's added the flute and

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oboe on pickup notes.

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And the bells.

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And bells.

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They have to breathe there.

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We were kind of covering that.

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That's right.

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We kind of have something kind of masking it to help that.

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And then you add that upper woodwind color and doubling the trumpets at 34.

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And then of course we also bring in the counter melody in the horn, clarinet and alto there.

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So again, it's that balance of those parts, making sure the counter melody is the new

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part.

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So you want to make sure that we hear that.

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We have more of the China cymbal crash cymbal stuff that takes place 37 and 38.

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And again, this is just another one of those opportunities.

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We don't want that to get too loud.

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It is meant to be an effect.

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This is kind of like the beginning where we have the recap of the accented notes.

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Da, da, da, da.

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And the forte piano.

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Because we have just the upper woodwinds, flute, oboe and alto coming in on the forte

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piano whole notes.

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I think it's really smart to consider cutting out some of your kids on the whole note part.

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Just so that it comes through more, the moving notes come through more.

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That's kind of a little trick you can use there.

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And then of course, trumpet horn clarinet, we're just back and forth.

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More of the forte piano, same kind of deal.

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I would consider thinning some of that out on that like half the students play the quarter

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note part and then drop out on the whole note so that we have fewer people on the piano

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whole note to make room for the upper woodwinds that are coming through.

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Then we start to slow down.

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And this concert D-flat here is really cool, just like harmonically.

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So just make sure that it's really in tune and it sounds nice when it kind of changes

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tonality a little bit there.

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Yeah, as Laura was saying, we're going to ritardando.

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And again, I think we've already said this a lot of times, but like, standard is a smart

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guy.

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So like, check this out, you're only having the ritardando happen in flute, oboe, sax,

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and of course your percussion.

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So they're going to watch you really well and then you can keep slowing down in 44, but

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all that's happening is a percussion role.

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So you're not going to worry about phasing or anything like that.

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Then you come into this lyrical marked at 80 section at 45 with some solos.

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You can choose if you want to do it as a solo or a soli.

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If you've got a really mature trumpet player, I think playing it as a solo with really pretty

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sound and maybe even vibrato is a great choice.

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Absolutely.

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You got to watch the tuning at 46 between on the A and the trumpet and the C and the

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trombone.

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The tremolo's, the kids are going to be so excited to do those.

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You have to make sure that they're quiet though.

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They're just in effect underneath again, kind of sounding like wind.

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Again we have wind chimes.

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The bells are giving us also kind of a wind chimy type of feel here and they're keeping

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us on beat.

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The flute solo again, pick your kid that sounds the best on their grace notes and has lots

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of vibrato.

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They should not be breathing on the barline between 47 and 48.

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Then whenever the whole flute and oboe sections come in at 49, make sure that's really in

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tune.

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Sometimes it takes a moment for oboes to be in tune.

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Really practice making sure that they know exactly what they're going to sound like when

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they enter.

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Then you've got that.

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It might even be that you take the oboes down and octave.

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Yeah, that might be a little bit weird with that low C, but maybe the F or something.

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On the F and the G.

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The F and the G.

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Yeah.

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Just depending on how mature your kids are.

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Then you've got a little horn entrance at 49.

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That's really pretty.

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You want to make sure that it's in tune also coming in on an upper C.

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Just work with those kids to make sure that that is not detracting from the sound.

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Again, we're doing a nice retardando here, but the only person in charge of the RIT is

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the bells and trumpet.

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That's pretty nice because you're going to be able to move together well.

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You're in a fifth here at the end of measure 50.

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Like a tuning nightmare if we're not thinking about it.

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Just really work on that in your daily exercises like Laura brought up before.

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It's okay to tweak that.

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Who is on the concert B flat and who is on the concert F if the instrumentation of your

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group justifies that.

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I know I've taken some flutes and put flutes on that formata on an F instead of a B flat

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because it was just too many people up there in that octave.

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That's something to consider.

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When we get to 51, it's back to the same idea that we had after the introduction.

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This trumpet ostinato, again, that is mimicking what's happening in the snare.

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Again, remember what we talked about with endurance for the trumpets.

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53, this is your low brasses.

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Time to shine.

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Now they get to take over the melody.

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But of course it's being doubled in flute, oboe, and bassoon.

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And bassoon gets this cool little grace note effect too.

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And your bassoons, you should definitely have if you let the bassoons shine here.

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We've got no grace notes happening in the brasses, obviously.

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But we want to make sure that they are moving together, that they sound really light.

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This should not be heavy at all.

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This should be mimicking what it sounds like to like a flute.

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But they're just playing the low brass.

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And then when the counter melody enters, again, horn and clarinet coming in pickups to 57,

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we want to make sure that that comes through as well.

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But again, let horn be the leader.

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Exactly.

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Let sax and clarinet color the horn part.

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Exactly.

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And this is when we get to 61, this is just like what we had at the beginning.

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All right, so it's a restatement of what we had at the beginning.

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So all of the same rules apply with regards to the forte pianos and how you treat those.

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Forte Piano Crescendos, the trills, all of those types of things.

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Then towards the end, when we get 67, 68, this is where it starts to transition.

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Just a little bit, you can feel that this is more final right here.

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The subitto piano, which is that transition from 67 to 68, will be something you have

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to work a lot so that you get that effect of the subitto piano.

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And again, you might thin out the number of people that are playing at the start of

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measure 68 to really help that effect.

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Make sure that that beat three accent in horn and trumpet at 68 and clarinet two comes out

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of the mix a little bit because it's just a nice little effect starting us off leading

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with like kind of an abel tone nature from 68 and 69.

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Then you got the cool timpani going into measure 70.

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And there's a little trill down here in the bells and marimba part at 69.

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I'm not a fan of bell trills just because in general they can start to sound really

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tinny and bells can really cut through a band if it's not played well.

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All the overtones on those bells can like just smother the sound of a band.

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And ruin the tuning in the flute.

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So I would just leave the trill out of the bells, keep it in the marimba because that's

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a really cool effect and it sounds cool, but I would leave it out of the bells.

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You can play around with it and see what works for your group.

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This finish is big, strong together, don't let the trills overpower everything else.

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Make sure that we're getting the melody and the trumpet trumpets are the only one with

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the melody.

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Trumpets and bells are the only ones with the melody here at the end.

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So make sure that they shine through and then at this last measure, D, D, D, D, D, D, tone

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on that last note.

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That last note needs to be longer than the eighth note followed by the eighth rest that's

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written.

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So the Symphony part 72 going into 73 as well coming in on beat three.

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Make sure that they hit big, strong and a big crescendo into the finish.

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Well we both just really love this piece and think it's written so smartly.

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So we hope that you will consider programming this into your next concert.

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