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Welcome to our podcast, Band BFFs.

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The podcast where we make your music selection less complicated.

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On today's episode, we're going to be discussing expectations by Larry Clark.

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Cheers to starting the conversation!

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This is in the key of concert E flat and 4 4 throughout with one 2 4 measure thrown in there on a release point, but mostly 4 4 throughout.

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It has one clarinet part. It is about two minutes, a little more than two minutes in length.

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It has one clarinet part, one trumpet part. So all of that is really nice.

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Percussion is really important for color and effect in this piece.

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So you do want to make sure that the bell part does not always double the flute.

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That is important. Malat percussion is important. Tempani is very important.

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In terms of accessory percussion, the cabasa and suspended cymbal are most important here.

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One of the things I love about expectations is it is a great piece for you to consider if your band is ready to start exploring some lyrical music,

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but maybe they are not quite mature enough to handle a full lyrical piece.

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This is a nice little one to kind of dip your toe in. You get an introduction that's really beautiful and lyrical, and then we get to the good stuff.

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Yes, and it's really beautiful here at the beginning.

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So while it does say expressive and it's marked at 68, it's completely appropriate to just go as slow as you need to for it to sound musical and lyrical.

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But that would be pretty slow to go with a lot of younger bands. So maybe even 75 to 80 would be appropriate.

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Just as long as we're making good phrases and good sounds.

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It opens up again with upper woodwinds. Well, actually all woodwinds.

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Beautiful woodwind choir feature.

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Really, really pretty here. And you're going to want to make sure you're teaching students from the very get-go, not to breathe on bar lines.

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We're going to do some sneaky breaths here and there. But this just really makes it be like elongated lines of music.

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Mr. Clark has done a really good job of showing like pushing through bar lines and crescendoing into the next phrase.

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So just ensuring that your students are following that.

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Flutes are so important.

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Flutes are so important.

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And there's a lot of...

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They need to like shake the earth with their vibrato.

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And there's a lot of beautiful color. The oboe provides that for the group.

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And then they're going to do like a slight ritardando at eight as the rest of the band adds in quietly.

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The trumpet provides a really pretty color to the chord.

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And then a nice release, as Laura said, with just a two-four bar there.

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Timpani can really help build that suspense as you lead into the release.

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And it's kind of a tension chord.

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It sounds really cool.

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It's really pretty.

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And then at ten we're back to the woodwinds having this little opening again.

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But now we're adding in the bells and the vibes.

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So like Laura said, that kind of adds a new texture.

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And then at ten the trumpets are going to take over the melody.

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And the horn part here is really pretty.

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And this kind of little horn counter melody comes back over and over and over with the altos.

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But of course, altos should always color the horns.

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And so working on that, the leap from F to C down to E flat would be a really good thing to have your French horn players vibrate on their mouthpiece.

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Definitely.

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Many, many times so they hear it.

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And it's something that they're very familiar with since it's going to come back over and over and over throughout the piece.

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This little descending low brass and low reed line from 12 to 13 is really beautiful.

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Make sure that they're getting stronger.

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And like I would tell my tubas not to de crescendo at 13.

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Just keep playing strong as you're going lower to make the band sound big and full.

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And of course, with any lyrical music, you really have to make sure that the instrument group passes to the next instrument group.

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Like here at 13, do not let them stop their sounds until one so that that way it's always there.

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And then we have another little crescendo day crescendo, but oboe adds in a really pretty color here again with the flute.

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And we are going to do another little retardando from 17 to 18 and just reminding students again not to breathe on any bar lines.

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You can even do like little micro crescendos from half notes into the next measure.

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And then we have the really pretty little horn color here with alto and oboe at 17.

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So make sure the horns bring that out.

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And to help this little retardando before you transition at 18, because it has so many moving parts,

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you can have the students like watch you and clap their part to really feel where each of those notes is supposed to move

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because every beat will end up slowing down just a little bit.

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And of course, you can do the same thing once they get it in their ear and get a little more confident putting that on the instrument.

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At 18, I love bass clarinet. It is cued in low reed and tuba in Berry Sacks and tuba,

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but I love the color of bass clarinet playing this if it's possible.

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Now on the suspended cymbal part, there are several times in this piece where the suspended cymbal part has a roll with sticks.

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And it's important that they that that be the color of it with sticks is really cool, but the roll has to be very fast.

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Otherwise, it sounds tinny.

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Yeah, it sounds more percussive and less the color. Yeah, that it's meant to be adding.

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So I would be intentional about that.

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Now we've gotten to the fast tempo. Everything picks up here at measure 18.

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It starts with clarinets and altos really setting the statement with this motor two and three, four and one, two and three, four and and the staccato quarter notes

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need to be very open throat release, very light, but not clipped short.

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We don't want to hear. DTD DTD DTD. DTD and he's be very resonant. TTTD TT.

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Flutes, again, we say flutes are super important in this at 22 flute comes in flute and oboe with the melody kabasa also adds in and kabasa.

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We mentioned at the beginning is one of the more important, percussive instruments that you haven't hear so timing between suspended cymbal and kabasa a lining that timing up with the motor parts in clarinet

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clarinet and alto are gonna be really important.

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Flute and oboe having the beautiful melody here.

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We're wanting again, no breaths on bar lines.

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Lots of vibrato on half notes

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when you have the opportunity to showcase that.

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We want to do that seamless sound all the way through this.

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When we get to measure 30, now the trumpets come in,

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the horns have a little, it almost,

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and mallets doubles with the horns,

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it almost feels like a little bell tone.

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Beam, bomb, beam, beam, bomb, beam.

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So we want to make sure we have really firm articulation

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on that, the low brass and low reeds that come in on beat two.

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I had my students write a little accent on that note.

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Now, it shouldn't be, it's mezzo forte,

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it shouldn't be overly strong, but rest, dah, rest, dah,

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just a little bit of punch and firmness

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to the front of the note.

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It's easy as more of the low reeds start adding in

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on this on these long sustained notes to get too loud,

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especially with bass clarinet,

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doing some of that motor part,

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just making sure all of that

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and the motor in the percussion stays underneath.

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Now the low brass here get some of the melody,

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and I love this part, it goes back and forth.

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So it passes from one measure of trumpet and flute,

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and then the melody goes in to the low brass.

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Now, you need to spend some time

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making sure that your low brass

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can move around that technique clearly

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and articulate the exact same as the upper woodwinds do.

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This is another example,

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you hear us talk about melody sheets a lot,

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where a melody sheet of writing that melody out

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and having the whole ensemble learn

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how to play the melody together

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and how to articulate it the way you want

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that can pay dividends big time

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when you actually apply it to the music here.

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For sure.

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We want it to sound, that whole melody

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should sound very playful.

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It's very, yes, very light, very, very playful.

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And then now we transition into this section at 38,

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where we crescendo in.

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And then it's just kind of like the beginning again,

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except not slow anymore.

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So we've got the upper woodwinds,

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or all the woodwinds again, coming in,

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and again the bells and the vibes are playing as well,

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and then you have little response in percussion.

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And then at 40, we've got again the trumpets

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and the same little low brass thing from before.

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Make sure that they're playing that really nice and full,

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and again percussion leading us in to 42.

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And we have no pulse in the percussion section here,

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like keeping time.

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We've had all of the suspended cymbal cabasa before that.

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That drops out here.

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Super important to watch the director.

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Absolutely, change in time together.

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Yes, and you could even do like a little bopping here,

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like just play the beginning of each note

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to make sure we're all aligning.

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Again, super important not to breathe between 43 and 44,

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as we're passing it in,

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making sure that everybody's doing the right articulation

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here, and again not breathing on bar lines.

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And then we have again,

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just some more little percussive effects,

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a nice little bell and vibes and flute moment at 48,

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and crescendoing into 50.

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At 50, we get the lows are coming in with their part,

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and we wanna make sure that we can hear the horn

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and the alto line as well here with the moving half notes.

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And then as we're going into this section at 52,

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this is another place,

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again where as Laura said,

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you wanna make sure everybody's moving right together here

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with no snare drum part underneath them.

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So this is a great place to bop,

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so that you can make sure that all the quarter notes

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and half notes are lining up in all of the parts.

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And just try, this is a great piece to train students

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to look up on, right?

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Like the parts aren't so hard,

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there's not a difficult rhythm,

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there's not like a bunch of dotted quarter notes,

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even though that's not difficult.

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But you know,

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except for the introduction,

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this is very playable.

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It's very playable.

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And the kids can like memorize four quarter notes

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to look up, you know, which is really awesome.

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Then at 54, again,

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we have that little clarinet part just like the beginning.

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At 56, now we have everybody in again,

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we want the low brass melody to kind of come out

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a little bit more here.

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Timpani, this is one of the places

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Timpani has a bum, bum, bum, bum, bum, bum.

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And they do that for a long period of time,

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so it's real easy for them to get carried away with that.

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And that become way too loud.

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This section can be noisy.

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If you don't balance it correctly,

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look, the ensemble volume is just mezzo forte.

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All right, so we're not looking for anything crazy,

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but then having to go in and be real specific

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with each individual part about,

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okay, I really want this to be mezzo piano,

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I want this to be piano, right?

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Trumpets are gonna have the lead here.

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And then just like before,

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we, the low brass and low reeds are echoing them, right?

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So fitting those parts of the puzzle together

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and making it sound exactly the way you want it to sound

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is really important.

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Not letting the rhythmic ostinato get out of hand

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and cover everything up.

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I like this little brushes part here at 56 too.

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It makes a cute little, just.

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It's a color change.

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Yeah, it's a color change.

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And I like it because then now the snare drum

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can play something that's a little more active,

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but you don't have to worry as much about volume.

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That's right, it's not in your face.

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For sure.

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Now when we get over here,

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we start to see some staccato markings

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in the low voices on their part and accents.

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This is the first time we've seen accents in this piece.

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So at measure 65, it is really important

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to make sure that we are unified on how we want those accents.

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Make a difference there.

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He wrote the accents there for a reason.

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Da, da, da, da.

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It needs to be real firm articulation on that.

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So again, so that we're making a difference.

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And timpani can really help lead into 66 as well

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with those eighth notes.

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And I would put a crescendo underneath that

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so that way they can do that.

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This is just like when we get to 66,

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it's just like what we saw at 38, right?

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Yep, yep, so it's the same stuff.

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Copy paste, copy paste.

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At 72, more of these accented notes,

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again, wanting to make a difference

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between those accented notes and what came before them.

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And then I love how this piece ends.

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It almost feels like an evaporation.

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Everything just dissipates.

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Yep, and I love the horn and alto part again here.

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It's 74, 75.

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It makes it sound so beautiful.

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I mean, it's just a really, really well-written piece.

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And then 76, like you said, it's just diminuendo-ing.

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That's what I'm trying to say.

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I'm trying to make a verb out of it.

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Yeah, just a big old long diminuendo,

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getting softer and softer and softer

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to the very, very end.

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Vibrato, vibrato, vibrato, vibrato.

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Yes, but then at the very end,

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you get to end it with a bang, which is fun.

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And the students love that

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because you can really do a lot with dynamics here.

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And I-

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To make it sound really, really cool.

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I love that contrast at the end.

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So we're just fading down to this nothingness.

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We leave it with just suspended cymbal,

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that ride cymbal feel and bass clarinet,

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bing, bong, bing, bong.

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Four and one, and then a big, four and one,

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big statement at the very, very end.

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And dampen, have all the percussion dampen at the end.

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Actually, I will tell you, I think on this,

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I had our Tempani player let it rain

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for just a split second.

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So we got a little bit of a resonant sound.

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And I think that made the, for our ensemble,

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when we played this, I think that made our last note sound

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a little bit more full.

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More mature.

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Yeah, more mature.

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Yeah, this piece is well written and not super difficult.

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It is not terribly difficult.

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It's a great introduction, like we said,

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into some lyrical parts.

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And especially, it's wonderful

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if you've got good woodwinds, especially.

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Yes, 100% like flute.

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They can really shine on this piece.

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All right, well, we hope that you will consider

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programming expectations for your next concert.

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