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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 Armory by Randall Standridge.

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Cheers to starting the conversation!

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Alright, Armory, a very popular piece.

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Your kids will love this.

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If you play it with all standard pieces, lots of great cool percussion, active percussion.

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It's in the key of concert F, D minor.

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It's about two minutes in length, four-four time throughout.

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Clarinet part never crosses the break, and it's one clarinet part.

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There are two trumpet parts.

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The first trumpet part does go up to a high D, but that's only in the introduction.

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Horn part is pretty important.

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It doesn't go above a C, and the low brass parts are all pretty straight ahead in terms

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of range.

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Percussion we feel like you need a minimum of six percussionists to pull this off, and

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every percussion part is important.

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Absolutely.

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So at the very beginning, notice that it says intense, 154.

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You really do need to try to play this piece in the spirit of how it was written.

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It was written to be like video game music and very exciting, and building up, and like

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it's almost like fight scenes in certain places.

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So you do want to make sure that you work up your tempo.

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This is something that's going to come back over and over the opening statement and rhythm

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along with the style.

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Ta, ta, short, short, ta, ta, ta, ta, ta, ta, and really leaning on every accent, making

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sure that those come out of the mix is so important here.

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Making the staccatos be like the weaker sounding, softer sounding one will really help that

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pop out.

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I'm a fan of vocalizing, and so I have my students on this.

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We vocalize da's for accents and d's for staccatos.

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So we would say as an ensemble, especially because this is unison, da, da, di, di, da,

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da, di, di, da, di, da, and say that until we can match it and then playing it.

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The bells part's really important many times in this piece, so make sure that you've got

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a strong person that's got good pulse here.

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And then this is a cool piece because it's got break drum, it's got sleigh bells, china

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cymbal, you play the suspended cymbal with a stick on the bell.

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So it's got lots of cool color effects, so make sure you lean into that.

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But do not let the break drum become the crazy focal point.

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I have adjudicated this piece so many times, and many times panels will talk afterward

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and be like, oh man, that was a good one.

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You couldn't hear the break drum that much.

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Or like, man, that was break drum city, so you want it to be like a nice color effect

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but not take over the ensemble.

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There's so much metallic percussion in this that it can overwhelm the ensemble.

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So the implements that you choose for your percussionist to use are also really important.

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Don't just assume that whatever mallet or stick the kid picks up is going to be effective.

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You're going to want to make sure you spend some time getting the right implements so

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the color is exactly what you want.

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Absolutely.

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So again, as Laura mentioned, the only spot where we have a D in the trumpets is in measure

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four.

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So just making sure that that's in tune or let's be honest, just leave it out.

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If for some reason your kiddos can't get it, it's doubled in the flute part and in the trombone

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part so the C will come out, concert C.

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We're going to continue to have this little part until measure seven.

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Then we have a little transition with the trumpet and the oboe and sax having the melody

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here.

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When we get to measure eight with the forte piano, really make that come way down and

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let the bells and flute become the cool part along with timpani.

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And I've told my timpani to crescendo through that each time that we play it.

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So they will start a little softer eight and then get louder and louder all the way to

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measure 12 kind of as the bass quote unquote of that little part.

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I even have told like upper woodwinds at times to not even crescendo and nine and a

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10 so that way they don't take over that little melody part.

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The flute part is divided depending on your section.

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If you don't have very many kids, put more on the lower note and a few less on the top

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part.

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It's not a hard chord to tune, but just to make sure that that's not too loud.

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At 12 you want to ask that part to layer down as they're not the melody anymore, especially

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the bells.

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The bells have got to come way down so that they're not covering the tenor sax and then

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the low Braslow reeds part.

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This part here is a kind of a tuning nightmare in the trombones because you have E naturals

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and Gs and you're holding out E natural at the end of the phrase for a long time.

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So you may need to go down the row and help modify parts if kids just can't quite get

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into second position, but you do what's best for your ensemble.

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Please also note that the style has changed here and now we have long tongues.

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So you really want to make sure that that style is obvious to the listener.

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I find with trombones, especially in this part right here, when they're coming from

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fourth to second, they tend to do a really nice job on those E naturals, but when they're

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going from F to E natural, they always overextend.

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So I mean, it does take some time.

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That's a good sectional thing to just spend time on making sure that they understand the

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technique.

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Right.

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Each time at like 11 going into 12 and then here at 15 going into 16, you'll notice that

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the percussion section has these little interspersed moments where they're kind of communicating

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with the band.

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So each time they have that have them start softer and crescendo up, but those are really

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important to make sure that they come out of the mix.

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At 15, we have a trill.

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And if you've listened to any episodes, you know that I'm not a humongous fan of trills.

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So maybe just find like one person to play the trill.

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It's supposed to be piano anyway.

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It's there for a color effect, but it should not be the focal point for sure.

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Then as we continue into this low brass, low reeds melody, same thing.

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You've got percussion coming into 20 that you want to bring up in a big suspended cymbal

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roll to make it sound extra awesome.

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And you get to hit the China cymbal at the same time as the suspended cymbal at 20.

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So your percussionist, that's cool.

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Yes.

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All right.

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When we get to measure 20, so we continue, we add the oboe into that little rhythmic

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ostinato that's happening in the bells and the flute.

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So again, we want to make sure that as they continue to play that they don't get louder

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and louder as they go.

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That needs to be just kind of a motor effect that is in the background.

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The new idea here is the trumpet.

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Well the new idea is what's happening in horn, clarinet and alto sax.

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The trumpets take over the melody that the low brass were playing before.

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So it's up to you.

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I would tend to kind of want to feature that new idea that's coming in with the clarinet

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and the horn, but the trumpets are what have the melody.

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Now the low brass here, we want to make sure that low brass low reeds, that that part gets

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underneath the melody and the new counter melody idea that we have.

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And again, these two new do markings.

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It is real easy when we play on beat four and on beat one for us to not make those notes

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equal length.

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So making sure that we go long, rest, rest, long, long, rest, long, long, long, just being

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real intentional about that instead of going long, rest, rest, long, short, rest, long,

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long, short, that's going to be their tendency.

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The note that happens before the rest.

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As we continue on, there is this cool at measure 23.

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The low brass low reeds, they just have this little punctuated part that should come out.

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It's the end of the halfway point of a phrase and they just get to add a cool little effect.

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So we want to make sure that we hear the difference in that style, the accents and staccatos.

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As we continue on, it's more of the same with trumpets on the melody and horn alto and clarinet

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having that counter melody part.

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One thing that I noticed, and I'm not sure if we've done this when we've played it in

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the past, but there's a tambourine to break drum switch over here at 26.

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And since the tempo is so fast, if you have to, you may want to mount the tambourine.

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If you don't have enough kids and this is the same kid playing everything, you may want

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to mount it so they can just put their sticks down and be ready on the break drum.

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That's just a little side note.

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I don't know that that's what you have to do for your group, but it's just an idea.

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Something to keep in mind.

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As we get to measure 28, this is the first time we have kind of this new idea.

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It's a new style, now we're going to the slurred notes, these moving eighth notes that are more

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connected.

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Flowy.

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Yeah, definitely more flowy.

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So we have, again, these little impact moments and statements coming from the low brass,

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low reeds and percussion, but all of the movement is happening in those upper voices.

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Now I would make sure on all of this, this is basically like an even finger exercise

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in music written out for a lot of these parts.

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I would have them play it tongueed first, even just on a concert F to make sure that

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we are passing these chunks of eighth notes to each other smoothly, just like a concert

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F around the room.

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For sure.

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So make it really, really smooth and then you can go to the notes, but I would still

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articulate it.

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And then I would take the tongue away and that will help to stabilize their fingers,

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make sure that their fingers are really even.

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Now for all of these passages, we end up having, everybody ends up having a one and two and

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three and four, one and two and three rest.

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You need to make sure that there is no gap between the bar line right there.

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No breath, one and two and three and four, one and two and three, they should not breathe.

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They should lead into the next little section.

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Lead into that.

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Then this really cool thing at measure 31, the trumpets come in and they get just this

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little, this little effect moment where they're three and four and then they're part at 32.

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Nobody else has this with them.

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They have this descending half note part that is really important.

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I think the trumpets, all of the eighth note people, I know it's written to crescendo.

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I would keep all of the eighth note people low.

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Keep it underneath that and let this half note part be what is driving the crescendo.

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

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That's really cool whenever bands do that because it's not written in that way, but

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I mean it is, there's a crescendo, but let that drive it, not anything else.

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Yeah, not all of that moving stuff.

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It can get too busy, too active if we do that.

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And then of course we have this new idea coming into this one and two and three, four, one,

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all these accidentals right before measure 36.

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Be real intentional about making sure all of the kids are confident on that.

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And again, equal length.

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Four, one, those are both the same.

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Accent, accent, so equal length note to note.

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Here at 36, I kind of think of this as like the fight scene of the piece.

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We've got the China symbol coming back in.

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We've got hits from the band and percussion is just going crazy underneath, not crazy,

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but just continuing to play.

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Making sure that you align the articulation here and that nobody accidentally plays during

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a rest.

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And have the kids practice like just saying their rhythm so that they know exactly where

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they come in.

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And then at measure 39, making sure that everybody gets softer again for the one measure to lead

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back into 40.

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The driving part here is the low people part and really work on that tuning.

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We've got to make sure that the A natural to the E flat to the D is super in tune in

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the low part.

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Many can help drive that two, three and four and one going back into 40 for that hit.

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More hits, make sure that when you have four, one next to each other that those are two

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separate air streams and equal length.

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Ta ta, not ta ta, or ta ta.

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Surely they won't do that one, but long short they do all the time.

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So you want to make sure it stays the same.

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All of this percussion that's happening underneath here.

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This is really, really easy for this to get.

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It is a percussion feature, right?

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The winds are just kind of punctuating it, but because it's like the rhythm is doubled

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and the bass drum and the China symbol are emphasizing the accents, it is so easy for

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the percussion section to jam out on this and get way too loud.

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So I would encourage them keep their stick height at six inches or less on all of this

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for sure on the accents and then the taps even lower than that.

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I like this timpani part at 42.

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That's a really neat part to bring out and then letting them kind of be the star of the

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show there.

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We have a nice suspended cymbal roll going into 44.

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And now we get this really cool new part with the sleigh bells.

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Yeah, and the sleigh bells, man, this part here, because this goes so fast, I mean, if

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you're playing this at 150 plus where it's written, that sleigh bells part is, it can

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be a nightmare to play correctly.

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Well to play it in time.

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To play it in time.

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To put it in time and then their hand gets tired and they go slower and slower and you're

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like, go, go.

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So I would have my sleigh bell player turn the sleigh bell sideways and hold it in both

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hands and shake it with both hands.

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It can be a real small subtle motion and that they have a lot more control over the delay

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is less significant than if you play the sleigh bells in the traditional way.

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So you might experiment with that.

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They even make sleigh bells like I have used before, I don't think there's like a real

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name for it, but like a flat sleigh bells where it's just a flat piece of wood and the

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sleigh bells are mounted around the edge of it that you can mount and the student can

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play with mallets.

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We looked it up online and it's called an antique sleigh bells.

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So I don't know.

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I mean, like look that up if that's something that you, if your kiddo can't do the sideways

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sleigh bells.

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I think that's gonna cool to me when Laura brought that up.

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I've used it.

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I've used it before.

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Now in this instance, the sleigh bells are only playing for a short amount of time.

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It might not be worth it, but if you're playing something, you know, it's extended.

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Yeah, sure.

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So here again with the horn and the flutes, this is a really cool part at 44.

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We want to make sure that the counter melody again is brought out a little bit more this

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time, even though the trumpets have the melody, maybe kind of like a march.

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You want to think about bringing the color instruments out more like oboe and horn or

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even just flute and oboe because it's a new color and a new sound here at the end of the

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piece since everything is so familiar in the same as before.

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It just continues the same on when we get to measure 52.

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This is very much a recap of what we had earlier in the piece.

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I would treat it exactly the same way.

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There's nothing in it that's new even at pickups to measure 56 when the trumpets come back

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in there.

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Again, it's the exact same idea that we had before.

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And I still, again, I still think this trumpet part is so cool that I think it needs to be

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the focal point here both times, both times.

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And then it's building up here too all the way, especially in the trumpet part, to 39.

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So just continue trying to get them to bring up their volume as they're leading in.

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And then there's this cool horn part.

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I love this leading into measure 60 right here where we have the alto tenor and horn,

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the one and two and three, and then the trill on beat three and four.

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And then like you want, I would really spend time practicing that clean release right on

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beat one so that it's a very cool percussion feature, percussion actually have fortissimo

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written and it's really effective if they play fortissimo and then drop down to piano

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where that's written and four and one, leading into measure 62.

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And then remind them to stay under the band at 62.

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That's exactly right.

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Yeah, when they come back in.

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They do not need to crescendo back up to fortissimo.

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62 is exactly like the beginning.

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So we have this little statement here in the middle.

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It's not until we get to measure 68 that we get our first like new ideas we're building

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towards the ending here.

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The horn part here, we dropped to messo piano, everybody.

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The horn and clarinet part I think is really important and really cool.

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So I would feature that in this little section.

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Build all the way to measure 70.

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Again another percussion break just like we've talked about before.

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Yeah, exactly.

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Exactly.

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Like the fight scene.

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Like we discussed before making sure that equal link four, one, spend plenty of time

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on that.

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And then at measure 73, again, this is like what we had earlier, but we have this people

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coming in on one, three and four.

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Nobody comes in on beat two.

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So again, just making sure that this would be something I might bop with them so everyone

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is really clear about where their note entrance comes in.

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And the timpani can really help out with leading into that hit at measure 74 as well.

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As we come to the end here, we want to really exaggerate the forte piano crescendo in the

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low voices so that we make room for the eighth notes and the moving parts to come out in

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the upper voices.

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I love the clarinet and horn part here.

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Again, it was just like what we had earlier.

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And then went into and four, one that four, one needs to be exactly equal, exactly equal.

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And then the China symbol here, we want to let that ring that's marked to let ring.

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Don't be tempted to try and dampen that.

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It's a really cool sound when it just rings for sure.

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This piece is so fun.

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Again, it's like video game music.

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Your kids are going to love it.

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They're going to practice it.

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It is a great option for your next upcoming program.

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