1 00:00:00,000 --> 00:00:10,240 Welcome to our podcast, Band BFFs. 2 00:00:10,240 --> 00:00:13,760 The podcast where we make your music selection less complicated. 3 00:00:13,760 --> 00:00:18,120 On today's episode, we're going to be discussing Rust Belt by William Owens. 4 00:00:18,120 --> 00:00:22,520 Cheers to starting the conversation! 5 00:00:22,520 --> 00:00:29,960 Rust Belt is the most popular grade one piece of music that has been performed last year. 6 00:00:29,960 --> 00:00:33,160 In the state of Texas, thank you. 7 00:00:33,160 --> 00:00:37,200 This is in the key of B flat, 4-4 throughout. 8 00:00:37,200 --> 00:00:40,200 It's only a minute and a half long. 9 00:00:40,200 --> 00:00:43,400 Great note range for all instruments. 10 00:00:43,400 --> 00:00:45,400 It doesn't have any split parts. 11 00:00:45,400 --> 00:00:51,880 However, there are lots of divisies within parts, so you do have opportunities to divide 12 00:00:51,880 --> 00:00:55,680 parts up if you have depth in some of those sections. 13 00:00:55,680 --> 00:01:00,680 Lots of percussion in this, and all of the percussion is pretty important, except for 14 00:01:00,680 --> 00:01:01,680 the timpani. 15 00:01:01,680 --> 00:01:07,000 The timpani, even according to Mr. Owens himself in his program notes, says that if you have 16 00:01:07,000 --> 00:01:09,880 to leave something out, the timpani can be left out. 17 00:01:09,880 --> 00:01:12,480 It is not functional to the actual music. 18 00:01:12,480 --> 00:01:14,160 It just enhances it. 19 00:01:14,160 --> 00:01:18,040 Other than that, we want all the percussion parts that are there. 20 00:01:18,040 --> 00:01:23,040 So at the very beginning, it says, and I had to look this word up, hard scrabble with an 21 00:01:23,040 --> 00:01:27,840 exclamation point, which means involving hard work and struggle. 22 00:01:27,840 --> 00:01:33,280 And the piece, if you read the program notes, is based on a big thriving metropolis and 23 00:01:33,280 --> 00:01:35,240 how it's fallen on hard times. 24 00:01:35,240 --> 00:01:41,480 So you can use that to help your students with seeing different visions of the piece. 25 00:01:41,480 --> 00:01:43,280 This is about grit and work ethic. 26 00:01:43,280 --> 00:01:46,160 Determination and coming through the work ethic, yes. 27 00:01:46,160 --> 00:01:49,880 It's, like Laura said, it's written very well for bands. 28 00:01:49,880 --> 00:01:51,920 All the range is pretty easy. 29 00:01:51,920 --> 00:01:57,080 So we start off with a nice, strong, it kind of sounds like a clock to me. 30 00:01:57,080 --> 00:01:58,080 I love it. 31 00:01:58,080 --> 00:01:59,080 I think it's just written really fun. 32 00:01:59,080 --> 00:02:05,320 It sounds like a clock chiming with these little bell tone accents and then timpani 33 00:02:05,320 --> 00:02:09,480 and toms leading us into measure three. 34 00:02:09,480 --> 00:02:13,960 Flute and oboe have another little like moment into in measure two, but we don't want that 35 00:02:13,960 --> 00:02:15,920 to be too loud. 36 00:02:15,920 --> 00:02:20,200 Then when they're holding their long notes going into five, make sure you're really 37 00:02:20,200 --> 00:02:23,280 careful about how many students you have on each part. 38 00:02:23,280 --> 00:02:26,160 See on flute can tend to be a very out of tune notes. 39 00:02:26,160 --> 00:02:28,680 We want to make sure we pick the right humans. 40 00:02:28,680 --> 00:02:31,320 Lots of vibrato here going into five. 41 00:02:31,320 --> 00:02:34,520 You can pump up the clarinet sound to kind of help with that. 42 00:02:34,520 --> 00:02:37,960 And then we have another chord coming in at four in response. 43 00:02:37,960 --> 00:02:40,160 Make sure that they accent when they come in. 44 00:02:40,160 --> 00:02:46,400 The flute and clarinet can come down at four in volume so that you can hear the trumpet, 45 00:02:46,400 --> 00:02:50,040 horn and alto and tenor saxophone entrance there. 46 00:02:50,040 --> 00:02:52,840 Again, sounding in fifths. 47 00:02:52,840 --> 00:02:53,840 At measure five, go ahead. 48 00:02:53,840 --> 00:02:58,840 I love on the percussion part and Willie Owens does this a lot in his writing. 49 00:02:58,840 --> 00:03:03,600 He either will differentiate the percussion part for ability level or write in some things 50 00:03:03,600 --> 00:03:04,600 for you. 51 00:03:04,600 --> 00:03:07,640 So like here he says that flams and rolls are optional. 52 00:03:07,640 --> 00:03:11,600 So I encourage you to utilize that if necessary. 53 00:03:11,600 --> 00:03:17,240 If you've got players like a percussionist that can't play flams well or can't play 54 00:03:17,240 --> 00:03:21,400 rolls well can be a huge distraction to the ensemble. 55 00:03:21,400 --> 00:03:27,400 So definitely consider using those options that he makes available to you. 56 00:03:27,400 --> 00:03:29,400 I think that's so smart. 57 00:03:29,400 --> 00:03:30,400 Yes. 58 00:03:30,400 --> 00:03:33,120 Accents are really important in this piece too and percussion does help with that a lot 59 00:03:33,120 --> 00:03:36,600 on like beat three entrances or they have accents. 60 00:03:36,600 --> 00:03:38,760 So make sure that they play up to that. 61 00:03:38,760 --> 00:03:43,160 At five you get the low brass coming with the melody right away. 62 00:03:43,160 --> 00:03:49,320 And the percussion is continuing to groove underneath the low brass here at five. 63 00:03:49,320 --> 00:03:52,200 So make sure that they come down in a volume level. 64 00:03:52,200 --> 00:03:56,080 It's marked for them to be at mezzo forte but maybe even softer. 65 00:03:56,080 --> 00:03:59,960 But then you get to add in like break drum and vibroslap and all these really cool percussion 66 00:03:59,960 --> 00:04:00,960 instruments. 67 00:04:00,960 --> 00:04:05,400 So make sure that they are heard but of course not detracting from the overall performance. 68 00:04:05,400 --> 00:04:07,080 It's meant to enhance. 69 00:04:07,080 --> 00:04:08,080 Yes. 70 00:04:08,080 --> 00:04:11,080 The low brass they need to make sure that they're crescendoing through the dotted half 71 00:04:11,080 --> 00:04:16,120 note and then doing the accent on beat one and measure six. 72 00:04:16,120 --> 00:04:24,120 One, four and one and and then that needs to be one, two and a full value into measure 73 00:04:24,120 --> 00:04:28,920 into beat three with that vibroslap happening on beat three. 74 00:04:28,920 --> 00:04:34,520 Then they're going to have their melody still getting strong starting strong again making 75 00:04:34,520 --> 00:04:39,920 sure that your G is in tune on measure seven in the trombone section. 76 00:04:39,920 --> 00:04:45,000 Then we're going to come down in volume and day crescendo along with percussion into measure 77 00:04:45,000 --> 00:04:46,000 nine. 78 00:04:46,000 --> 00:04:47,880 We have a ratchet part and it says optional maracas. 79 00:04:47,880 --> 00:04:50,280 Oh, it sounds really cool with ratchet. 80 00:04:50,280 --> 00:04:55,840 If you have one or borrow one from a neighboring school, I think that's a really cool just 81 00:04:55,840 --> 00:04:56,840 melodic effect. 82 00:04:56,840 --> 00:05:00,560 Well, it makes it sound it makes it sound like really working right. 83 00:05:00,560 --> 00:05:01,560 Yep. 84 00:05:01,560 --> 00:05:02,560 Like work with the break drum. 85 00:05:02,560 --> 00:05:03,560 Yeah. 86 00:05:03,560 --> 00:05:09,120 Then we have the flutes and oboe and clarinet coming in with the one and two and they're 87 00:05:09,120 --> 00:05:14,440 going to be soft on their long note three, four, one and then the three, four needs to 88 00:05:14,440 --> 00:05:17,440 be brought out a lot in measure 10. 89 00:05:17,440 --> 00:05:22,360 And then the horn and the trombone and kind of the mids get to come in too with like a 90 00:05:22,360 --> 00:05:25,360 little conversational piece here. 91 00:05:25,360 --> 00:05:30,200 Again doing the what the low brass did before with the accent on beat one and full value 92 00:05:30,200 --> 00:05:32,440 on beat two. 93 00:05:32,440 --> 00:05:39,640 Again we have a divisi part in the trombone euphonium bassoon section at 11, but that's 94 00:05:39,640 --> 00:05:42,600 up to you about how many players you want. 95 00:05:42,600 --> 00:05:47,600 If it's my band, I don't have very many kids that can play a G perfectly in tune sometimes. 96 00:05:47,600 --> 00:05:52,680 So maybe only have one student in each part on the G and then have everybody else on the 97 00:05:52,680 --> 00:05:54,560 D or have just your phoniums. 98 00:05:54,560 --> 00:05:56,880 Especially since the tubas are covering that G. 99 00:05:56,880 --> 00:05:57,880 Yeah. 100 00:05:57,880 --> 00:06:00,600 Maybe have just the euphoniums on the G so you're not worried about the trombone tuning 101 00:06:00,600 --> 00:06:02,960 and have all your trombones on the D. 102 00:06:02,960 --> 00:06:07,920 You know mess around with it, see if it sounds better for your ear. 103 00:06:07,920 --> 00:06:12,480 Again making sure that we can hear the beat three in clarinet flute oboe and then beat 104 00:06:12,480 --> 00:06:13,480 four in the low brass. 105 00:06:13,480 --> 00:06:16,560 This conversation between those two different ideas right? 106 00:06:16,560 --> 00:06:17,760 Yes, absolutely. 107 00:06:17,760 --> 00:06:20,600 There are throat tones for days in the clarinet. 108 00:06:20,600 --> 00:06:21,600 Oh my gosh yes. 109 00:06:21,600 --> 00:06:27,760 In this piece so it's really important that your students know some type of resonant fingering 110 00:06:27,760 --> 00:06:31,240 for those throat tones, whether it's as simple as right hand down. 111 00:06:31,240 --> 00:06:35,920 I think it's important to go player to player and come up with the right combination of 112 00:06:35,920 --> 00:06:42,360 fingers for each individual kiddo to make sure that they sound as most in tune and with 113 00:06:42,360 --> 00:06:44,320 a beautiful sound on those notes. 114 00:06:44,320 --> 00:06:47,000 But man G's and A's for days on this. 115 00:06:47,000 --> 00:06:49,920 So it needs to be something you spend sectional time on. 116 00:06:49,920 --> 00:06:54,440 At measure 12 you can see that we have a little bit of a different articulation here so making 117 00:06:54,440 --> 00:06:59,880 sure that this lines up for the whole band. 118 00:06:59,880 --> 00:07:03,640 And it leads into 13 so make sure that we're all lining up there. 119 00:07:03,640 --> 00:07:09,080 13 again goes back to the flute and oboe clarinet getting the one and two. 120 00:07:09,080 --> 00:07:14,760 But the trumpets now get to come in at 13 with their little moment of what I call again 121 00:07:14,760 --> 00:07:15,760 the clock sound. 122 00:07:15,760 --> 00:07:16,760 I don't know why. 123 00:07:16,760 --> 00:07:19,000 I think it sounds like a little ding dong ding dong. 124 00:07:19,000 --> 00:07:25,640 So 13 the trumpets get that part with the accents, saxes are coloring them and then 125 00:07:25,640 --> 00:07:30,480 the flutes and the trumpets are continuing on with the clarinets, the melody going into 126 00:07:30,480 --> 00:07:31,480 17. 127 00:07:31,480 --> 00:07:37,720 We're going to crescendo up there and the low brass get to do this descending line here. 128 00:07:37,720 --> 00:07:42,920 Make sure that they are the focal point of the crescendo and leading us into our arrival 129 00:07:42,920 --> 00:07:44,400 point at 17. 130 00:07:44,400 --> 00:07:48,200 17 we arrive and it should be big firm articulation. 131 00:07:48,200 --> 00:07:50,640 Little note length on both of those eighth notes. 132 00:07:50,640 --> 00:07:51,640 Dot, dot. 133 00:07:51,640 --> 00:07:59,400 And then the trumpets and upper woodwinds kind of respond to that arrival moment. 134 00:07:59,400 --> 00:08:03,680 Then you have this conversation that takes place between the flute oboe trumpet and then 135 00:08:03,680 --> 00:08:07,760 clarinet, alto and horn comes in and echoes them. 136 00:08:07,760 --> 00:08:12,680 So again wanting to make sure that those parts that you work balancing those parts so that 137 00:08:12,680 --> 00:08:15,400 we hear both of them equally well. 138 00:08:15,400 --> 00:08:20,800 One more opportunity for divisi and this E and A divided note on trumpet and neither 139 00:08:20,800 --> 00:08:23,520 of those notes are great notes for your trumpet. 140 00:08:23,520 --> 00:08:27,920 So just making sure that they sound really good here but letting your low brass kind 141 00:08:27,920 --> 00:08:31,160 of be featured here one, two and three, four. 142 00:08:31,160 --> 00:08:35,600 They're kind of leading the end of that phrase going into the start of the next phrase at 143 00:08:35,600 --> 00:08:37,320 21. 144 00:08:37,320 --> 00:08:40,600 Where altos again are now coloring the trumpet part. 145 00:08:40,600 --> 00:08:45,560 So we have the melody that is taking place more in flute oboe clarinet now and now it's 146 00:08:45,560 --> 00:08:51,720 the answer is kind of the conversation response is coming from trumpet and alto sax. 147 00:08:51,720 --> 00:08:55,760 We bring back these accented notes here in the percussion part by the way is a place 148 00:08:55,760 --> 00:09:00,240 where you can see those rolls that are there that you might consider leaving some of those 149 00:09:00,240 --> 00:09:02,440 rolls out. 150 00:09:02,440 --> 00:09:06,840 Then when we get to measure 23, this accented style it's going to be really important to 151 00:09:06,840 --> 00:09:08,160 make a difference here. 152 00:09:08,160 --> 00:09:14,240 We don't want to overdo the accents but we do need to hear a difference at the start 153 00:09:14,240 --> 00:09:15,360 of all of these notes. 154 00:09:15,360 --> 00:09:18,600 And the bells have the little clock sound coming back at 23. 155 00:09:18,600 --> 00:09:22,720 Sorry if that's not what it was meant to sound like but it's what it sounds like in my head. 156 00:09:22,720 --> 00:09:25,160 One, two, three, four. 157 00:09:25,160 --> 00:09:28,240 And the bells get all four of those entrances. 158 00:09:28,240 --> 00:09:33,560 So making sure that each like Laura was saying each entrance on one, two, three and four is 159 00:09:33,560 --> 00:09:35,040 accented like a bell tone. 160 00:09:35,040 --> 00:09:36,040 Exactly. 161 00:09:36,040 --> 00:09:41,880 We can hear that especially the beat four entrance since it's just in horn making sure that 162 00:09:41,880 --> 00:09:45,440 that's a strong tongue and then we're going to de crescendo coming down. 163 00:09:45,440 --> 00:09:47,040 De crescendo leading into 25. 164 00:09:47,040 --> 00:09:50,040 So 25 that should be noticeably different. 165 00:09:50,040 --> 00:09:56,200 This is like one of the first places where we have like a real major dynamic contrast 166 00:09:56,200 --> 00:10:00,960 and everyone wind player wise is on a whole note leading into that at 25 and the percussion 167 00:10:00,960 --> 00:10:03,120 are the ones that have the moving parts. 168 00:10:03,120 --> 00:10:08,600 So really allowing the percussion every beat to get just a little bit softer to help transition 169 00:10:08,600 --> 00:10:11,160 us into the soft section at 25. 170 00:10:11,160 --> 00:10:15,000 Just because we're playing soft doesn't mean the firmness of articulation needs to be sacrificed 171 00:10:15,000 --> 00:10:16,000 here. 172 00:10:16,000 --> 00:10:20,280 So still make sure that we are really clearly hearing the start of each one of these notes 173 00:10:20,280 --> 00:10:25,040 and not letting the white notes, the dotted half notes that we have here decay. 174 00:10:25,040 --> 00:10:29,960 So this is just going to be soft for a measure and then we get to start growing and crescendoing 175 00:10:29,960 --> 00:10:31,440 again leading into 27. 176 00:10:31,440 --> 00:10:33,600 Yep, and like break drum comes back in. 177 00:10:33,600 --> 00:10:37,360 So we're like building up the momentum again going into 27. 178 00:10:37,360 --> 00:10:38,960 Don't let break drum over do that. 179 00:10:38,960 --> 00:10:39,960 Right. 180 00:10:39,960 --> 00:10:45,120 Then we have again, like kind of this big like low brass part again, just really nice 181 00:10:45,120 --> 00:10:50,920 and firm and with the four and one and just like the beginning this time though we get 182 00:10:50,920 --> 00:10:57,560 this cool horn and sax counter melody against saxophone should color the horn. 183 00:10:57,560 --> 00:11:02,000 It might not look like it's like anything, but it sounds really neat just right above 184 00:11:02,000 --> 00:11:08,160 the lows and then making sure that they tongue firmly on beats three and four going into 185 00:11:08,160 --> 00:11:09,240 29. 186 00:11:09,240 --> 00:11:11,800 Make sure that that's just a present moment. 187 00:11:11,800 --> 00:11:15,880 It's something new and different that you can bring out and it helps your horns to 188 00:11:15,880 --> 00:11:22,560 shine on a really easy part that isn't written, you know, up high for their instrument. 189 00:11:22,560 --> 00:11:25,880 Again keeping everything really tongue firm here. 190 00:11:25,880 --> 00:11:30,560 And on beat three and four again, we get the upper woodwinds coming back in, making sure 191 00:11:30,560 --> 00:11:34,240 that they are not too loud, but they are the new layered invoice. 192 00:11:34,240 --> 00:11:39,240 Make sure that they're doing the accents along with percussion on one, two and three, four 193 00:11:39,240 --> 00:11:40,400 and one. 194 00:11:40,400 --> 00:11:45,480 Make sure that the one and three momentum continues throughout the whole piece. 195 00:11:45,480 --> 00:11:50,120 Then again, like I mentioned, we're kind of layering these parts in the last layer is 196 00:11:50,120 --> 00:11:54,440 the trumpet parts again coming in on three, four going into 35. 197 00:11:54,440 --> 00:11:58,040 All right, so trumpets again are taking over right here. 198 00:11:58,040 --> 00:12:02,400 Then we've got the upper woodwinds kind of keeping more with this little ostinato pattern 199 00:12:02,400 --> 00:12:03,760 that's happening underneath it. 200 00:12:03,760 --> 00:12:10,360 Really the conversation is taking place between trumpets and the alto tenor horn part. 201 00:12:10,360 --> 00:12:12,280 So that we're and then of course low brass. 202 00:12:12,280 --> 00:12:13,640 We're listening to all of these layers. 203 00:12:13,640 --> 00:12:16,400 It starts to get pretty thickly textured here. 204 00:12:16,400 --> 00:12:18,800 So you have to prioritize those lines. 205 00:12:18,800 --> 00:12:23,640 Figure out what is most important to you and make sure that the students know what is the 206 00:12:23,640 --> 00:12:26,840 major priority, what is second most important, third most important. 207 00:12:26,840 --> 00:12:30,920 And I like trumpet to be really strong here because that's the new voice and it's something 208 00:12:30,920 --> 00:12:33,200 a little bit different here. 209 00:12:33,200 --> 00:12:37,160 So just again, as you're teaching layering to your students, maybe for the one of the 210 00:12:37,160 --> 00:12:42,200 first times you teach them like, okay, now we have to listen a new parts layered in. 211 00:12:42,200 --> 00:12:47,120 So you have to come down in volume and don't continue to let them play in a rehearsal if 212 00:12:47,120 --> 00:12:49,320 you can't hear that part. 213 00:12:49,320 --> 00:12:54,200 One thing that I did recently is I had a student from like they weren't listening to me when 214 00:12:54,200 --> 00:12:56,520 I was like, I can't hear that layer. 215 00:12:56,520 --> 00:13:01,480 So I had like a student from like, let's just say the trombone section come up and he stood 216 00:13:01,480 --> 00:13:05,760 with me at the front of the room and I said, okay, ready play from this rehearsal number 217 00:13:05,760 --> 00:13:06,760 to this rehearsal number. 218 00:13:06,760 --> 00:13:11,640 And I said afterward, you tell the band, can you hear the such and such part that layered 219 00:13:11,640 --> 00:13:13,760 in and he was like, nope, she's right. 220 00:13:13,760 --> 00:13:14,760 You can't hear it. 221 00:13:14,760 --> 00:13:18,760 And it was awesome because it was like a kid, you know, affirming that like I could not hear 222 00:13:18,760 --> 00:13:19,880 that layer part. 223 00:13:19,880 --> 00:13:24,320 So why not have fun with it, invite your kids to come up and one at a time, you don't have 224 00:13:24,320 --> 00:13:25,320 to do it all the time. 225 00:13:25,320 --> 00:13:30,320 But if you're having trouble hearing the layers on a piece, even like this, invite the kids 226 00:13:30,320 --> 00:13:33,600 to get involved in the listening and helping with those roles. 227 00:13:33,600 --> 00:13:37,880 And another thing that I'll do is I'll cut it down to one person on a part and just do 228 00:13:37,880 --> 00:13:42,560 and maybe you know, maybe use first chair players and say, okay, now this is the balance. 229 00:13:42,560 --> 00:13:43,880 This is what I want it to sound like. 230 00:13:43,880 --> 00:13:48,360 Okay, now we're going to add in one additional player and one additional player. 231 00:13:48,360 --> 00:13:52,960 So if you start with a really thinned down instrumentation, they can hear that balance 232 00:13:52,960 --> 00:13:53,960 a little bit more clearly. 233 00:13:53,960 --> 00:13:56,160 Yes, I agree with that 100%. 234 00:13:56,160 --> 00:14:00,440 All right, picking up here at 39 as we kind of are heading into the end. 235 00:14:00,440 --> 00:14:04,760 First of all, it's really important for the people that have a rest on beat one of 39 236 00:14:04,760 --> 00:14:07,440 that the quarter note before it touches that rest. 237 00:14:07,440 --> 00:14:10,400 Da, dee, dee, da, da, off. 238 00:14:10,400 --> 00:14:14,680 And then they can breathe there and I often will have my kids mark a breath mark on a 239 00:14:14,680 --> 00:14:17,760 rest just to help them remember to do that. 240 00:14:17,760 --> 00:14:22,040 We have this accented style taking place in the low brass, which is mirroring what's happening 241 00:14:22,040 --> 00:14:23,360 in the percussion. 242 00:14:23,360 --> 00:14:29,480 So just have them listen to the percussion and not overplay, not play too loud right 243 00:14:29,480 --> 00:14:30,480 here. 244 00:14:30,480 --> 00:14:35,560 Now everybody gets the clock theme, yay, as we get here at 41. 245 00:14:35,560 --> 00:14:39,200 So making sure that these are very much triangle shaped notes. 246 00:14:39,200 --> 00:14:43,320 We want to hear the front of the note being really firmly articulated, changing notes 247 00:14:43,320 --> 00:14:50,040 together right in time before 43 and letting percussion really help be in effect as they 248 00:14:50,040 --> 00:14:53,200 crescendo into 43 before the big finish. 249 00:14:53,200 --> 00:14:58,440 And speaking of the clock sound going into 43, so it's written where the low brass does 250 00:14:58,440 --> 00:14:59,880 have that part. 251 00:14:59,880 --> 00:15:05,560 And then some of the upper parts like flute, oboe, first trumpet, they don't go down on 252 00:15:05,560 --> 00:15:07,000 the last one. 253 00:15:07,000 --> 00:15:11,200 So maybe only have one person playing the upper part and let everybody else so that you can 254 00:15:11,200 --> 00:15:12,200 hear it. 255 00:15:12,200 --> 00:15:17,720 Do the clarinet as well and the first trumpet as well exactly. 256 00:15:17,720 --> 00:15:20,320 Just so that it finishes the way that it began. 257 00:15:20,320 --> 00:15:23,520 And then 43 is just really fun for your low brass right? 258 00:15:23,520 --> 00:15:25,440 One, two, and three. 259 00:15:25,440 --> 00:15:26,760 But they love to do that. 260 00:15:26,760 --> 00:15:30,480 And then you have the conversation with the low brass and then the trumpets and everybody 261 00:15:30,480 --> 00:15:31,760 out the high people. 262 00:15:31,760 --> 00:15:36,600 So it's low versus high here, just really tonguing firmly making sure everything leads 263 00:15:36,600 --> 00:15:39,760 in and you can hear every single beat. 264 00:15:39,760 --> 00:15:43,400 And then not letting everybody crescendo too much into the end, never go past your most 265 00:15:43,400 --> 00:15:47,280 beautiful sound is what I say all the time to my students. 266 00:15:47,280 --> 00:15:51,920 Percussion gets to kind of crescendo into the ending and then lots of accent and weight 267 00:15:51,920 --> 00:15:55,080 on beat one of the last measure, one, two. 268 00:15:55,080 --> 00:15:59,760 And that can be a little bit of a shorter beat too because it's kind of like a lifted 269 00:15:59,760 --> 00:16:03,600 staccato because it is a house top accent. 270 00:16:03,600 --> 00:16:06,360 So I wouldn't worry about that being full value. 271 00:16:06,360 --> 00:16:11,240 But that will be something you have to work on because everyone has silence on beat three. 272 00:16:11,240 --> 00:16:14,600 You're going to want to make sure that that aligns really clearly. 273 00:16:14,600 --> 00:16:18,560 And I would have my percussion dampen everything at the end. 274 00:16:18,560 --> 00:16:21,440 You can kind of listen to that and make your own decision, but I would have my percussion 275 00:16:21,440 --> 00:16:22,880 dampen things at the end. 276 00:16:22,880 --> 00:16:30,720 This is a very well written piece that we both really love and I'm sure we'll be able 277 00:16:30,720 --> 00:16:35,080 to find it into our band programs recently in the future as well. 278 00:16:35,080 --> 00:16:40,160 It's got a musical jump start with it to help your young performing bands. 279 00:16:40,160 --> 00:16:43,000 Anything by Willy O'Njoo and Gino is going to be great. 280 00:16:43,000 --> 00:16:44,640 That is 100% accurate. 281 00:16:44,640 --> 00:16:49,280 So we hope you will consider this for your next performances. 282 00:16:49,280 --> 00:17:07,240 Thank you so much for joining us on this episode of Band BFS.