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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 Mystery Ride by Terry White.

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Cheers to starting the conversation!

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Alright, this piece is in 4-4 time throughout.

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It's in the key of concert, E flat, or really C minor, and it's only about a minute and

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45 seconds long.

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I love this piece.

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It is a grade one on the Texas PML and in the publisher grade list as well.

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One of my favorite things about this piece is it's a great tool for teaching style.

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There are two clarinet parts, two trumpet parts, percussion parts.

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There are five percussion parts.

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The bells part doubles the flute throughout, so if you are limited on your percussionists,

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that is a part that you could do without.

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The triangle and cabasa part could be played by one player if you mount the triangle.

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If you have a limited number of percussionists, this is still a piece that can work really

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well for your band.

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I think that that's a really great thing to keep in mind for sure because a lot of times

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you've got to have a lot of percussionists, so this is a good piece for that.

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The timpani part is really important and you will notice that the snare part starts off

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with the snares off for a color effect.

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The cabasa part is also really important.

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You want to have a strong player on the cabasa part that can make the cabasa sound good,

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can play it in time, and that it's a very dry sound to the cabasa because it's the

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only thing playing many times throughout the piece.

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It's like the interim voice between parts.

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It should be really crisp sounding.

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Yes.

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You can audition your children and see who has the most natural cabasa technique.

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I have even had sometimes when a student had trouble making it as dry as I wanted it, I

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have removed some of the beads from the cabasa and that can help them give a little more

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control over that sound.

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Awesome.

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At measure five where the winds enter, again, timpani can really help beef up that color

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and you're going to want to teach your timpani player to dampen to make sure that the style

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matches what the wind players are playing here.

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Again, like Laura said, this is a great piece for different articulations and it is very

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differing throughout.

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You're going to want to make sure that your kids are tonguing firm soft, firm soft on

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this rhythm and you will want to make sure that you have the kids say that to you and

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then you can just practice doing it on a concert at first for just a practice technique and

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then they can play it in the chord as written in the piece.

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It does come back.

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This ostinato part comes back often throughout the piece.

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Making sure that you teach your kids that and really making a big difference on the

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accent versus the staccato is super important in this piece.

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Again, like I mentioned, you've got the little cabasa part being the interim at measure eight

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and then at nine where more of the band comes in, this piece sounds like a mysterious ride.

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That's kind of the fun part of it.

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So now we're getting a little bit stronger in sound.

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When we're adding in more voices, the ostinato will want to back off.

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Probably have them mark in mezzo piano at most instead of mezzo forte.

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And then the euphonium trombone tuba horn part comes in along with the low reeds and

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they're going to be going back and forth between G and A flat and trombone.

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So we want to...

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I hate G on trombone.

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I do too.

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I do too.

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It's horrible.

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So you want to make sure that you really talk about ways to be successful, use your tuners,

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make sure that they're in tune on those two notes.

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But on the flip side is written in a really nice zone of the horn here where horns can

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sound really pretty with them and kind of make that beautiful color just come alive.

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Lots of ties in this section too, just making sure that everyone counts carefully through

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all of those sustained long notes.

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And Mr. White has done a good job of marking breath marks.

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I love that.

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Yes.

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Where he wants students to take a breath.

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So having the students follow that plan is really important and an easy thing that's

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already written for you.

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Make sure whenever you cut, they do come in here at nine that they're keeping their articulation

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really long and flowing and very long slurs, don't clip anything, not da, da, da, ta, make

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sure everything is very, very long.

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And even the note before a breath mark, teach the students to make that still be a long

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note, a quick breath and then a re-entrance.

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The upper woodwinds come in with a trill at 12 and it should not be very loud if you've

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listened to any of our podcast episodes so far.

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You know how Katie feels about trills.

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They're not trills.

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They're not really my favorite thing.

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And I usually try to cut it down to like one on a part if that, just so that it doesn't

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take away from, it's an effect, it's not meant to be something really loud.

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Even with the crescendo written underneath it, I would tell students to play it pretty

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soft and I would cut down for sure on that.

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When we get to measure 13, now we get the first statement of this melody that we're

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going to hear several times in this piece.

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So a couple of things here, first of all, I would strongly advise you consider putting

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together what I reference as a melody sheet where you take most of the time this piece

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is written in three parts.

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And that makes it really great for teaching younger bands.

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That's right.

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Or any band.

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So before flex band was as popular as it is, melody sheets would allow, it would allow

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you to transform a piece into a flex band piece, right?

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So you write out the main melody, you write out the counter melody, you write out the

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motor part or the baseline part and teach it to everyone in the ensemble at the same

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time.

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It allows you to really focus on style, it allows you to focus on note accuracy and it

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gives some of those players, you might have a hotshot tuba player that is never really

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going to get to move his or her fingers very fast and now we're putting the melody in their

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hands and giving them an opportunity to extend their learning.

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So I think a melody sheet is really important.

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Now when we get to 13, the flute oboe clarinet are the ones who have the melody.

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Like Katie stated before, the slurs needing to be really long is important here.

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We want to hear da, da, da, da, da, da, not clipping any of those slurs.

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Lots of good air follow through on all of that.

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Articulation is so important and I'm not talking about staccato accent but is it tongueed

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or is it slurred?

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Because there is a lot of variation in this melody throughout here.

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We have a counter melody going on in the alto saxophone and horn.

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Now on your horns, they are coming from an E-flat in measure 12 and going to a B-flat

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in measure 13.

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That's a big jump.

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So that is a big jump.

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You're going to want to make sure that you spend some time working on that interval leap

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and if you only have one or two kids that can make that leap, then that's okay.

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That's totally okay.

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Now this part here with the alto saxophone and the French horn counter melody, it's

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really cool but it can often smother what's happening because of the range of where it's

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written.

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Yeah and I told Laura when we were talking through this piece that a lot of times when

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I've adjudicated it, this part will kind of be a do or die moment in my mind because

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you're sitting on a really long note and if you are not 100% in tune, it will distract

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you from the melody that's happening.

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And so it's really important to make sure that they're not only balanced but they're

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also in tune with each other.

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That's right.

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So a lot of alto and horn work on this.

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In the bass line part here, we want to make sure that the eighth notes are tongueed firmly

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enough.

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It does not need to be staccato but it needs to be a clear firm articulation so that it

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doesn't sound muddy and the actual rhythm of the part can be discerned with the players.

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Now Katie already mentioned that he has marked breath marks in here which I think is great

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and if you find measure 18, you will see that he has intentionally marked a no breath here

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which I think is really, really smart.

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Everything leading up to this point, he's been marking the breaths between beat two and

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three and now he's saying, hey, this is a place I do not want you to take a breath.

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As we continue on, trumpets enter with the melody.

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Today at the beginning had that statement with the little rhythmic piece but at 21,

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they get to come in with the melody for the very first time.

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So it's the new color, it's the new sound.

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Everything else stays the same.

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I would bring that trumpet color out and have your woodwinds get a little bit underneath

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that so that we're hearing something different that time.

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You may also choose, now I would choose to favor the trumpet color.

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You may also choose to bring the alto horn part out here because we've heard the melody

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for a phrase already and certainly that is an option.

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I really think that would probably depend on the strength of your ensemble.

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I totally agree with that.

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And I think that is a fun idea but only if you're like, wow, my horns and saxes are

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rocking this.

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They sound really good.

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And again, if you've listened to any of our podcast episodes, we always talk about coloring,

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alto sax should always color the horn part.

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Absolutely.

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It's really important to make sure it happens here too and you're not having just like huge

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alto sax sounds in this piece.

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We finish out the little melody again, some more tied notes across the bar line.

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So opportunities to make sure that your kids are really comfortable counting those notes.

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And when you're writing your parts for your students, that is a great opportunity to make

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sure you write three, four, one underneath your tie from 25 to 26.

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Counting those rhythms will help in rehearsal to go faster because they already have that

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help from you.

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And I teach my students, I know that there's a lot of different ideas about this, but I

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teach my students that like when we have a tied note like that, I want them to think

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about it in two plus one.

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I don't want them to necessarily think three when it goes across the bar line.

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I want them to think two plus one so that they're understanding that.

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And then we get to 27 where we have the ostinato come back.

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So now we're back to like, we like we've been on the ride and now we're back to the mysterious

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part where it's like back and forth again with the ostinato and the cabasa.

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So the and again, we mentioned before that you could have the same kid play triangle

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cabasa, but this is one moment where the triangle would have to be mounted where, you know,

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ding and then you quickly are using both hands on the cabasa.

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So it would be difficult, but it could happen.

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Then going back to using the same verbiage with firm and soft here with the accents and

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staccatos, then you have the upper woodwinds coming in with a nice accent.

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It's a little punctuation.

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Yeah.

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And so you want to make sure they're not holding the long note loudly, but that they're just

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hitting and then coming down at 30 for the low, low people to have their moment in the

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sunshine here again.

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Alignment of articulation is really important in 30, making sure that everybody sounds exactly

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the same to make sure that that style comes out.

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I, you know, you do see that there is some accents and some staccatos.

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So you want to make sure that the accent is more strong of like more prominent as the

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voice to be heard, like the tuba and everything.

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At 31, you will see that, you know, saxphones as they're continuing, they are marked to

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get softer here.

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And I agree with that.

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You want to make sure that the upper woodwinds are more of the melodic voice and they are

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playing a new articulation here with the tenuto and the, and the lifted staccato under the

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slur, but make sure that it's not too lifted.

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You don't want to think, ta, ta, it's going to be ta, ta, very open throat.

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And yes, that, that is like almost the same, but it's not, you know, you want to make sure

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that there's just a little bit of a float instead of a hard release.

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Then it's very smooth and 32 to 33.

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You will probably want to address the flute and oboe tuning in 33 on the C.

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I think that C is a very difficult note to play and tune on, on oboe with young players.

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So it might be that maybe your oboe doesn't play the C and just your flutes do or find

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one oboe if you have more, more than one that can play it in tune.

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And then they're going to play it softer because then you've got the ostinato again coming

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from the, the middle and low voices.

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So you want to make sure that the call and response is very obvious here, woodwinds start

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and then the brass.

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And then at 35.

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Oh, also while I'm thinking about it, the timpani part is so cool in this piece because

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it does usually beef up the brass parts.

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So make sure that your timpani player is doing the same accents and following along with

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the brass at 35.

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The lows finally get their moment and they get the melody and they will want to make

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sure that they are really in tune here using the wrist instead of an arm motion for trombone

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here going from four to three.

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And then, you know, if you don't have a very strong trombone section, it's okay to doctor

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their parts.

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Maybe they don't come in there and it's just euphonium low reed tuba that are playing and

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they come in instead at 36.

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Or if you have one great trombone player that can play four and three really well, then

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they play the whole thing.

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So feel free to doctor it however you need to to make sure that everybody sounds like

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one voice here.

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I also tuning voice.

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I think with trombone and I, and I like what Katie's saying about, you know, wanting to

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modify the parts if you need to do that.

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But also with trombone, because this is supposed to be slurred and everything that we have

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done up to this point has been very, you know, lengthy connected, slur smooth sounds.

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You run the risk trombone having to articulate there of it messing up the flow that you want.

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So, you know, I would utilize that as well.

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Experiment and see what works for your group for sure.

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And then with the ostinato is now in the upper woodwind part.

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And so they just need to play it lightly, but still with the same articulation.

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And then making sure that the alto and horn part as it comes in pickups to 39 is very

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confident on their pickups as it's taking over this little counter melody part again.

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The upper woodwinds will be very soft here and maybe cut this down to one on a part.

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It's written up especially in flu.

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Yeah.

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So that tuning is going to be an issue.

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And then clarinets are going to be in the, you know, the bad range on their instrument

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where you need to add some fingers to make sure that the G's and the B flats are better

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in tune on their throat tones.

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So that is just a consideration for you.

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And then when the altos and horns come in here, as I mentioned, sometimes the altos

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and horns have given me scary vibes when I've adjudicated this piece.

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But here, at least the horn part is written in a better range, it's lower.

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So hopefully that will help them, you know, sound even better, but just be aware that

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they do need to kind of sound the same saxes coloring the horn part here for sure.

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And then we've got a nice firm articulation coming into 43 in the low people part.

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You really want to bring that out, make sure they're tonguing firmly.

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And again, way less on the trill and the upper person part.

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And when we get to 43, it's basically a recap of exactly what we had back at measure 13.

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So the same people playing the same parts.

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You want to again, give the same attention to the balance, making sure that you have

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prioritized to the parts that you want to hear.

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As we start to build towards the ending, again, we have more of the accent, a little punctuated

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statements from the upper woodwinds leading into 49.

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Now right here at the end in the last three measures, the articulation is different from

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what they've had before.

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Well, most of this piece, we hear firm soft, firm soft.

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And here we have a firm soft, firm, firm.

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We have two firms in a row.

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That is going to be something you will have to spend some time on because the kids will

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have gotten it in their ear the other way.

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You will have beaten them over the head with it the one way.

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And now you want them to do it differently here.

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All right.

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But they are still going to do a forte piano.

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Exactly.

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So we want to, again, if they are defaulting to the accent staccato, accent staccato, you're

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going to lose that forte piano effect.

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So you want to make sure that you spend some time on this.

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And then at the end, the last note for end one and two, and making sure that it is a

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full body resonant note, but that we match articulation throughout the rest of the ensemble.

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And I would have all the percussion dampen here at the end so that we get a clear cessation

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of sound from the full ensemble.

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I love this piece.

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Kids like it.

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It is very, the name is very appropriate.

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For sure.

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It is very mysterious.

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Yes.

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It's a great teaching tool.

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It's fun for kids to play.

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I think there's a lot of good learning opportunities for young bands.

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Yeah.

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And the fact that it's written so well with just basically three parts all the time makes

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it easy to teach to younger bands.

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And we really hope that you will consider programming Mystery Ride in the future for

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your group.

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