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Welcome to our podcast.

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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'll be discussing Arctic Wars, Rise of the Penguin Army by Brian Balmages.

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Cheers to starting the conversation.

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Okay, if you know anything about Katie Lewis, you know that she is a huge penguin fan.

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I do, I love penguins.

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So you can imagine when this piece came out many years ago, or a few years ago.

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I bought it right away.

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Yeah, she was too worried.

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She was one of the first.

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Yeah.

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Okay, so this piece is in 4-4 time all the way throughout.

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It starts in the key of B-flat or G-minor and transitions to the key of F or D-minor.

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It does have two different tempos, but the tempo changes.

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It's double time when it changes and it changes at the key change.

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So that's kind of a nice, you can treat it like two little small independent pieces.

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There are two clarinet parts.

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Neither part crosses the break.

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There's only one alto part, but it is divisi a lot.

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So you're going to want to make sure that you have both of those parts covered.

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Two trumpet parts.

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First trumpet never goes above a C. Low brass part and horn part are all very, very manageable.

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The percussion, you do need, I think, a minimum of six percussion to pull this off.

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You could probably tweak some parts and do a little modifying with five percussionists,

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but all of the parts are important.

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So you want to make sure that you do your best to get those covered.

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For sure.

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So I really do love this piece.

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Fun fact, our band plays it every year as our beginner honors band piece, at least for

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the past three years.

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And the kids love it because it has some really cool effects and those like more mature students

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in your band get a chance to play some more slow music and then it transitions to quicker.

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They just think it's so much fun.

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So this is a good teaching piece if you've got some upper level beginners.

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And I like the imagery that you're able to kind of convey and we'll talk some about that.

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The imagery you can convey with this whole rise of the Goodwin army.

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So the students love it and I think it's a really well written piece overall.

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It would be super great to do with a non-varsity or sub-non-varsity band as well.

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Or just a fun like holiday tune, you know, for a holiday concert.

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Anyways, so it starts out at the beginning with this ostinato and the low brass and low

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reeds and the timpani also gets a chance to play like one, two, and then they roll.

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I would add an accent on beat two just to kind of add in that effect.

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Then the clarinets and the altos come in with bass clarinet on beat three and they start

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off very soft and then do a little crescendo and then a day crescendo.

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So that effect is really fun.

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We talk about foot tap.

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Each foot tap gets louder.

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Three, four, one, two, three, four touch.

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And the suspended cymbal can help support that as well.

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And we want to make sure that the note goes all the way to the barline at three and they

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don't let go early.

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The toms get to have this little like conversational part.

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It's like echoing that the penguin army is on its way.

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And then at three, they do the same thing.

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We add in just like the low part and the clarinet too is really cool.

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So just bring that out.

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Then at measure five, we have the horn and the tenor sax coming in.

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And they need to make sure that's a hard note to come in on for French horn.

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So make sure that they practice coming in with a pretty sound on a low A and make sure

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that they're articulating the same way as the low brass that we're playing before them.

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Then we have this really neat, well, same thing.

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Trumpets are adding in with the clarinet sorry at measure five and doing the same effect.

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And then we have this really neat little bell part at six.

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You want to make sure they start loud and get softer on those octaves.

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That's a neat effect.

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And this comes back several times.

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Yes.

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And then at measure seven, same thing.

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We've got the trumpets and the first trumpet goes to a B natural.

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That tuning tendency for younger players is to be a little flat.

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So make sure they draw an up air and keep their corners in or you draw it in for them

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when you're marking their parts.

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Trumpet two may also need to kick their thumb slide.

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And then low people have this four and one, two going into measure nine.

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So just making sure that they play that out a little bit.

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They're bringing us into a new section.

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And then we have Altos joining us in a higher register at measure nine.

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And man, that can get really loud and crazy.

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So just encourage your Altos not to get louder as they go above the staff.

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They even make it be like a little solo or something if that fits your band better.

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And I talk about gripping the corners of them of the mouthpiece or gripping the mouthpiece

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with the corners of your embouchure when they're up in that register.

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So they keep their air more focused like flat, like laser pointer air and not flashlight

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air.

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So if you can imagine what a flashlight beam looks like, we don't want the air stream to

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look wide and spread like that.

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We want laser pointer air.

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Yep.

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And then still same effects going on here as we're going into measure 13.

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Then we have a new part here.

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The Altos have one and two and then Flute and Oboe.

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That's a great place to use covered C sharp in the Altos.

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For sure.

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For sure.

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And then clarinets come in on beat two and three with their own little part.

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Make sure that they're counting that really carefully.

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They have a long tied note too.

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This is the low brass melody though at 13.

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So you want to bring this part out all the way into measure 16 and go ahead and let those

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low low brass and low reed shine there because that's a neat part for them.

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Lots of tuning things with the E naturals thrown in here for the low brass.

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So just really make sure that that sounds nice.

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And then 16, same little thing except the trumpets have what the clarinets had before

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and they don't need to play it too loud.

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It's Mark Mezzo piano.

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It's just a new part.

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And then we're passing the alto to the tenor and horn this time instead of to the flute

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and oboe.

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And then at 17 the bells part is leading into 19 along with just kind of like as a color

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instrument.

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And then the flute and alto and oboe have the melody three, four, one, two and three,

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four.

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And then it doubles in tempo.

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Make sure they keep their articulation long there.

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At 19, this might even be because it literally doubles in tempo or it's really close to doubling.

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I would just double it.

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It might even be a great teaching tool for teaching cut time.

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So you might be able to teach your students to keep their foot tap exactly the same even

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though we're now going to be feeling it differently.

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So I'll tell you that what we do is we still do it in four, four for a while and then we

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switch over to cut time once they feel comfortable with the rhythm.

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And that does help it not rush or drag.

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It's more the feeling that you want in here.

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Now I love this now here where we are at measure 19 when it starts going faster, layering the

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parts in here is really important.

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Making sure the students know what line is the biggest priority.

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We add in a wood block.

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So now this is a new color.

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This is literally the marching penguins.

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We talked about that imagery.

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Here they come.

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The penguins are marching in.

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It's a low brass army first low brass and low brass.

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That's right.

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And with all of these eighth notes again making sure that everything is very even and that

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all the eighth notes sound the same.

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And they do this for a long time.

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So that consistency just making sure that they mentally stay focused and keep that really

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consistent all the way through.

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One cool thing is that you'll notice in this piece that there's not a bunch of like staccatos

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and accents and style markings added in which is nice because you don't have to spend time

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unifying that in your group.

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When we get to measure 23 and again we get that effect in the clarinet and low clarinet

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that crescendo day crescendo effect.

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Then we have a new penguin.

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A new penguin army leader making an appearance right here in the 25.

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This is in the alto saxophone and this little line comes back several times.

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This is the first time we're hearing it and it needs to be the most important thing that

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we hear right here.

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Then we get little what we think of as like little baby penguin.

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You know notes that happen in the flute and oboe and clarinet those just nice and nice

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and soft at measure 29.

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Now we've got another penguin.

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This is the emperor.

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That's what Katie.

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Yes.

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That's what I tell my kids.

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Let's go with that.

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Let's go with it.

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The emperor penguin is making its appearance at 29.

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Now this is in a great range for trumpet.

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They do not need to overplay here.

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All right.

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Just it's metto forte.

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They are the melody.

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This needs to be the most important thing but they do not need to overplay here.

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Just make they can sound really beautiful in this range.

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When we get to measure 32 and we land on that D in trumpet that they need to kick.

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You're going to want to make sure that they kick on that and that we focus on the tuning

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and encourage them to push their air through the bar line from 32 to 33.

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In fact when I mark my parts for the students I'll add in breath marks in different parts

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at 31 if the kids need it or they can breathe after the half note and 33.

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But that way we don't have a humongous gap going from 32 to 33.

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When we get to 33 the flute and oboe take over the melody now or they add in the melody

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with the trumpet.

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And we have the alto saxophone that other penguin.

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I'm thinking of that one with the crazy yellow.

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I don't know what kind of penguin that is but you can picture what I'm talking about.

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That guy comes back in and the tendency of course of that guy he always wants to make

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a statement right saxophones.

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So making sure that it's not too loud.

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It's not too loud.

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We still want to make sure that the emperor penguin melody is the most important thing

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and then horns add in tenor sax add in.

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They have the harmony part to the melody.

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So the texture starts to thicken up as we are going through this.

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And then just a nice big crescendo from everybody leading into measure 17.

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Don't overdo it but we want to make sure that that's effective leading into 37.

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Yeah and I really like that the G sharp and the C sharp going into 37.

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Just trying to bring that out a little bit and then the low brass tonguing firmly going

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into 37.

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Now you've got some crashes added in and it's like the two armies coming together.

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Maybe it's the saxes versus the trumpets.

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I didn't want to put that out there with children because then it's like going to be like a

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bad scene.

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But now we have a new statement in the flute part.

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The altos along with clarinet get to take over the melody and now trumpets are in the

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background along with the ostinato for the low brass.

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It gets really noisy here if you don't talk about the layering like Laura mentioned earlier.

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So everybody needs to balance down to the alto and clarinet here and then the fluton

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oboe are just a brand new little counter melody part.

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So you want to hear that.

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You do want to hear it but you want to make sure everybody else is way underneath that

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so we can hear that neat part.

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And encourage your flute players and oboe players to use lots of vibrato as they're going between

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38 and 39 pushing all the way through breathing just on the rest there.

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Also flutes will tend to want to possibly breathe between 41 and 42.

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So just encourage them to maybe sneak a breath before the half note and 41 if need be.

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They're continuing on here and now the trumpets add in with them back on the little melody

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part at 41.

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And then again we have another B natural at 42 in the upper trumpet part so just watch

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the tuning there.

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And as we're going from 44 to 45 we're all going to do a crescendo to the bar line there.

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This is where the low brass takeover and now they're the melody.

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So this is like the Big Daddy penguin coming in and he's taken way over.

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So you want to make sure everybody else at 45 is way underneath them because again now

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they have the ostinato part.

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A naturals are a tuning nightmare here in the low brass sometimes so just make sure that

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they're really paying attention to that.

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All of the eighth notes that are happening elsewhere I mean it is a 2 and 3 and 4 and

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1 and 2 and 3 and 4 and what like it's back and forth so you want to make sure that all

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of those parts line up.

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Same volume too.

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And then 48 leading in again now we have another accidental note in the alto tenor horn and

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trumpet two part.

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Again I think that's important note to bring out of the mix not the not the remaining note.

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And then we have an arrival at measure 49 with that's the C in the trumpet that's the

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one lonesome C.

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So make sure that that's in tune for them along with the E in the trumpet.

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Then the flute and the oboe and the clarinet have this little real important melody part

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1 3 4 1 2 3 4 and 1 2 3 and 4 1 and it's with the low people.

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So that's kind of neat.

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Everybody's in unison there.

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You want to make sure everybody's moving together and sounding the same and there's no percussion

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beat here.

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So this is a recipe for rushing.

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If you haven't worked on this students looking up and really worked out your pulse and your

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rhythm make sure everybody is an excited to have the melody and then goes faster and faster.

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52 is just a little transition point but this horn and tenor sax and alto sax counter melody

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is neat leading into measure 53.

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So be sure to add a crescendo there and have them lead in.

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Once we get to 53 the trumpets are now the only people who have this melodic statement

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that we've heard several times.

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There's all of these moving eighth notes happening or all of this this eighth note stuff happening

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around it.

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It's easy for this to get too loud.

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Yes.

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So again we talked earlier just making sure that balance and the layering everybody needs

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to know their role.

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Are you most important second most important third most important whatever.

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With all of the eighth note parts you'll notice that some of the eighth note parts stay the

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same.

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They're on the same note all the way throughout some of them change notes.

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We'd want to prioritize the ones that are on the moving notes of course but still not

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letting them play very loud.

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All of this just really needs to be underneath so we can hear that trumpet melody coming

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through that's going to be the most important thing all the way through this whole section

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as we get into 61 again another crescendo then 61 no breath between 60 and 61.

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Whether they play on the downbeat of 61 or whether their note goes all the way to a rest

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that needs to crescendo and we need to make sure there is no gap in the sound for those

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people that do play at 61.

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This trumpet part here is now new.

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Now we've got this cool trumpet this effect.

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You want to kind of bring that out this bell thing that happened earlier at the beginning

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we told you this would come back here is another appearance of this cool bell part that we

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want them to start really strong and day crescendo on that octave bell part that they have there.

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This is the first time that the flutes have that crazy haired penguin yellow hair part

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that the saxes had before at 61.

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So now it's flute and clarinet one.

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A different color now.

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And you want to kind of bring that out a little bit but not any louder than the cool

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little trumpet part.

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This continues on more of the same we just again thicken the texture so now the out those

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in the horns and tenor are adding in with the trumpet so we're kind of just just beefing

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that up a little bit then in these last four measures much like what we had before only

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now instead of it being the low voices now we have the trumpet the upper and middle voices

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playing this this is where horns get the melody.

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This is where the emperor penguin wins basically that's what we said because the trumpet melody

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wins out but yes my horns are so excited because they have melody for 65 and part of 66 for

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the first time in the piece.

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So they get that little moment of glory and then just this really neat little part here

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with the bells and the flutes coming in on beat four leading into the end with the timpani

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really being nice and strong.

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Yes.

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And four and one and dampen everything.

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This whole note chord that you have leading into that last note you want to make sure

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you spend a little bit of time tuning that's a cool sounding note and you want to make

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sure the kids don't kind of shy away from the tension that's in the note but make sure

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that you spend some time balancing those parts appropriately and then lots of energy on that

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last measure dampen all percussion all percussion at the end.

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This piece is so fun.

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It's enjoyable.

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I love it and it's really well written and again like I mentioned there there are no

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stylistic markings.

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So you're really just teaching you get to do extra effects as needed.

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The kids will love getting a chance to talk to you about the different penguin armies

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and and just have a fun time with it.

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We hope you consider programming this piece at some point.

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Lots of options for it.

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It's such a cool piece.

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