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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'll be discussing Red Giant by Jorge Vargas.

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Cheers to starting the conversation.

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All right.

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This piece, very fast upbeat tempo in the key of FD minor.

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It's about just under three minutes in length.

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It does have, it's a grade two, so it does have split clarinet, alto trumpet and trombone

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parts.

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Both clarinet parts cross the break.

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Trumpets, you need to have pretty good trumpets to play this.

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The first trumpet part goes all the way up to a high F sharp.

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And the first trumpet especially sits in a higher tessitura for a lot of the piece.

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The trombones, the second trombone part does often double the euphonium, but not always.

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So you want to make sure that you have a healthy low brass section.

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Then with regards to percussion, you could do this with five players if you had to.

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Six makes life a little bit easier.

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And in terms of the percussion instruments, I think that the bells are really, really

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important in this one.

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So this piece is really fun.

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It's depicting a star that is taking over everything in its existence.

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It's expanding and engulfing everything in its path.

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So there's a lot of cool like dissonances and harmonies in this piece that make it really

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fun for your students.

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We start off really quiet here at the beginning, like your out and outer space.

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And there's just one little thing with the bells, like Laura said.

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That's the driving pulse at the very beginning.

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Low people come in and then as each new voice ascends up and you have a different half note

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coming up, you want to bring that new part out more as it's going higher and higher to

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measure five.

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So for instance, the euphoniums are not going to get louder because they're staying on the

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same long note the whole time.

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Every entrance that comes in, I would think about just a little miniature accent on every

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entrance so that the entrances are really clear.

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Yeah.

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And it adds a little bit of that cool effect.

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And then at five, we now have everybody's up one level dynamically.

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We're continuing to rise further with the trumpet part going up to measure eight.

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Then it continues to rise up through clarinet, oboe, and flute.

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That's just really neat.

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It goes all the way from tuba all the way up to flute and your kids will think that's

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a really neat writing technique as well.

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And then at nine, we don't want to be too loud just yet.

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We're only Mezzo Forte here, but the melody is in the flute, oboe, clarinet.

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They're adding in this mysteriousness along with the bells.

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You do not want the snare drum to be too loud here.

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I've heard this piece performed many times where the snare comes in and they are just

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a little excited.

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Loud.

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Yeah.

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With all the accents.

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So just make sure that they're underneath the melody.

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The trumpets have kind of a neat little counterpart here, but they are not the focal point, but

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they do need to be in tune.

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We have so many E's and D's in the first trumpet part here.

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So really focus on that.

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All the chords are just underneath them.

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Anytime you have written in at like 12, for instance, a sharp accidental note like in the

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alto part and the horn part, bring that out.

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And then the timpani part leads us into measure 13 along with a crescendo from everybody else,

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but make that be the driving force.

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Then when we hit measure 14, it's very exciting.

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It's like kind of like a little action scene.

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You've got the percussion playing and then the band kind of interspersed with them.

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Then you've got like the driving rhythm in the suspended cymbal with a snare stick along

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with clarinet, flutin, oboe.

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You want to make sure that that's aligned and not very loud.

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And then the accents going into measure 17 help us drive in.

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The low people again have a cool little intersection where they're building it back up into 17

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as well.

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So bringing that trombone part out, like Laura said, they have the independent part from

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the euphonium.

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So making sure that that's different.

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At 17, we want the trumpet part to be what is leading this right here.

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But all of the, we have all these entrances.

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There's entrances on beat one, beat three, beat four.

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Every one of those, especially if they have tied notes.

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Again, I would think about it accenting the start of that note, maybe like a little miniature

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forte piano on it so that it's real clear where every new instrument comes in.

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We get to measure 19.

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Now the flute, oboe and clarinet are coming in with their part.

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We start building an energy building in some of the excitement.

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We're still doing that same.

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You have accidentals in the low brass, low reeds.

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You want to be mindful of that.

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But we still have that same, the building part, layering part in the accompaniment happening.

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So again, make sure firm articulation that we hear all of that very clearly.

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Trumpets, it's back and forth between the flow bannette part and what's happening in

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trumpets.

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They're kind of conversationally going back and forth.

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Percussion here again, the volume has come up.

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It's ensemble dynamic of forte, but the snare drum once again does not need to, it's providing

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energy and intensity, but it should not be covering what's happening in the winds.

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We land together on an impact moment at measure 25.

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Bells have this cool moment where they are day crescendoing, leading us into this new

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idea at 27.

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At 27 clarinet.

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And if your clarinets are strong, I would not have your altos play the cues.

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Let this be a little clarinet thing here.

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Making sure they can move together.

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We're really solid in tune here.

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Cool little suspended cymbal and flute.

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One in two, in three, and four in.

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Making sure that that matches and lines up really, really well.

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Again, this just lets your clarinets kind of shine.

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This is almost like a little duet between the clarinets and the percussion section here.

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Altos saxophones and horns.

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We had more people in at 33, but now alto saxes and horns are going to be the ones who are

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leading the melody here.

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Lots of people on this whole note accompaniment part.

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Don't let that get too loud.

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You might even need, depending on the size of your ensemble, you might even need to thin

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that down.

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Yeah, I was going to say this part sometimes does tend to be too much.

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Like the first trombone part is on an upper D. They're probably going to have a hard time

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playing that soft and in tune and controlled.

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Just making sure you do whatever works for your band.

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Yeah, absolutely.

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Again, making sure that the melody is what is coming out.

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We have this cool moment where we get a little bit softer and energize into measure 37, where

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we have a new idea.

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Watch the tuning two at 36 in that first trombone and second trombone part.

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Really working on these chords here.

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Like Laura mentioned before, the first and second trombone don't always double the E

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funding part.

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So we have literally a chord right here in the low brass.

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You do have to have strong players in my opinion in low brass section.

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And then we again, like she was saying, flute, oboe, clarinet and trumpet are leading us

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into 37.

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37, the bells get a cool part again, they get to play this little just shining moment

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along with the trumpets.

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And the trumpets get to do kind of what the flute played before.

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They do need to make sure that they have great articulation.

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They're moving right together.

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The low people get these little impact hits, making sure that your band knows exactly when

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they're going to come in.

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They play it all together.

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They watch you so that it all lines up 100% here timing wise.

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And we want to make sure on every one of those impact moments that you hear chord tones,

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those notes should not be so short that you don't actually hear the chord tone that is

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being produced.

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Right.

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At 41, we have this like smooth and not very loud part taken over by the flute, oboe, clarinet

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and it's chromatic.

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It's got really cool little chromaticism.

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And now we get to like convince our players why it's so important to know their chromatic

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scale.

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Yeah, we do see it in music.

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Yeah, we do see it in music.

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But it's not going to be the loudest part.

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We're still going to let the trumpet shine, but it's a neat little effect as we mentioned

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before.

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And all the whole notes need to be soft again, continuing to make sure that those impact

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hits are tone full.

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Then we're coming into 45 with this horn and alto part on one end to end and then three

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and four and the clarinets, making sure that they have the same intensity and the same

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volume between those parts along with percussion in the timpani and the snare drum part.

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That's all kind of leading us up.

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Make sure the whole note doesn't take over that moving part.

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And then we have another day crescendo part here in the bells and the flutes and the

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oboes are helping along with that as well with the suspended cymbal snare part, snare

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stick part there as well.

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At 47, we're starting soft and we have the low person melody here.

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They're ascending line.

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They're leading us up again.

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And then they're crescendoing into measure 49 and 50 where the horn and the alto get

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to take over.

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So one neat thing about this piece is everybody gets important parts.

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You don't necessarily have just the one shining instrument all the time.

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And I think that's neat.

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It's a great piece to just feature your whole band.

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Now the horn up there in that register, again, that's supposed to be mezzo forte.

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Yeah, it's going to be really loud.

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Yeah.

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So you're going to have to make sure that you talk to the students about not letting

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it be too overtaking on those upper D's.

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Make sure the altos are coloring the horn.

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They're not playing louder.

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And then again, all these low people, they're marked mezzo forte too, but they do not need

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to be loud.

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I would mark that down for sure to mezzo piano and then have them day crescendo even more

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as they're going into measure 51.

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This is one of the places where they all low brass have this unison line, but the ensemble

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dynamic is mezzo piano.

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So we're not in harmony anymore now.

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We're unison.

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And we're ascending up from 51 to 53, making sure that we're really bringing that out from

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the low brass to the trumpets.

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And we're crescendoing.

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Watch the tuning on A naturals in 52.

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And then at 53, we're going to have an impact point again with the flute, oboe and clarinet

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taking over.

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And then the long notes need to be a lot softer here with an active snare drum part again,

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not being louder than the upper woodwinds.

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55.

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We have some new material with this cool like upper brass and sax part with the accents

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one and two and four and one.

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So that's really neat.

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And you want to make sure you're working on making sure the accented notes are softer

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in dynamics so that the accents are what's coming out of the mix.

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Then your low people have a tie.

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So make sure you're writing in your counts for them.

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I've had students before miscount this part, so it's important to make sure that they go

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all the way through.

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I think this part is really cool right here where the accents lay in the trumpet horn

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and alto part are a little bit different than what's happening in the snare.

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So it is almost kind of conversational between them.

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And you want to make sure that they hear that, that the snare player hears that, that the

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wind players are executing those accents effectively so that we get that cool effect.

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And they're conversational with the flute and clarinet and oboe too.

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So we have the one and two and four and one, two, three, four, one and two and four and

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one and.

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So really making sure that you're bringing that out and making sure that the conversations

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are just obvious in nature.

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As we're going into this next part, the saxes and horns again have the melody and then we

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have this really cool counterpart and the tuba, barry, sax and bassoon.

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They have like these little moving half notes.

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So letting that part kind of really intensify and lead all the way to 61 is a cool thing

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to do.

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And then at 61, you've got your trumpet section as the primary melodic voice.

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Everybody else is a solid note underneath, hard cut off on beat two, timpani humongous

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feature here and then a little snare drum feature finally.

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And that leads us into 64.

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So we have a new idea here at 64.

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This is an optional flute solo and I would highly recommend that you use this as a flute

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solo if you've got a player that sounds really beautiful and can do this.

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It's really a pretty solo.

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It is and really, I know it says solo, but it's really like a duet between flute and

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bells.

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For sure.

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So you want to make sure that the clarinets are just really offering that harmonic foundation

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underneath it.

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But what's happening melodically is a duet between flute and bells.

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So getting those parts to work well together, I would have those students work individually

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together so they really see how that part fits together.

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The dynamics in this section are really important.

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We're trying to paint a picture and this effect of all these day crescendos and then

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the crescendos and the day crescendos.

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And don't let the chords overtake the flute soloist.

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That's exactly right.

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Even as they're getting louder, right?

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Don't let that get too...

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And the first clarinet especially being a little bit higher, it's going to be easier

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for that to happen for them.

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And I love the bass clarinet color here.

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It sounds really, really beautiful.

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I do too.

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And there's a really cool just nice woodwind feature and percussion with the bells right

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there leading into 72.

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Now again, we are continuing this same type of effect with the swells in the sounds.

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But we have an awful lot of low brass and low reeds on that harmonic part.

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When the woodwinds were featured, it was just bassoon based clarinet and clarinet.

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Now we've brought in the entire low brass section plus some low reeds.

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And the trumpets are the only ones, first trumpets are the only ones who really have

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that melody part.

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And then the cool, again, the bells are still continuing that same little do that feature.

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So we want to make sure that the whole notes do not cover up what's happening in the moving

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lines.

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When the altos take over the melody in measure 74, we have the cool half and horns.

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We have the cool half note part, that descending part that's happening in the trumpets.

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That is still really important.

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So as we're layering and prioritizing, I would put that just underneath the bell part in

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terms of priority.

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Again, it's easy for this all to get too loud.

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Ensemble mezzo-piano, just keep everything nice and controlled, thin out the ensemble,

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the numbers of people playing if you need to, making sure that it's really solid in tune.

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Once we get to measure 80, now we have this big build, this crescendo building in.

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Yeah, and this low brass descending line is super cool at 79.

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And it's going to help the crescendo, it will help that volume.

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Have those low brass crescendo big time on their descending line.

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I love the little, the percussion part really helps with this too, the timpani, the snare,

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bass drum, all of that really helps to get that transition into measure 80.

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Once we get to measure 80, this is big trumpet melody, but we have...

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And notice, we just hit that high F sharp at 79.

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So we're like, we are more than halfway through this piece.

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So again, like she mentioned earlier, you do need to have a pretty good solid trumpet

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section just for their chops and their tuning this late in the game.

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Once we get to measure 80, the trumpets and clarinets have the melody, but we have these

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cool impact moments.

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All of the accents like the one, two, and three, four happens in the low brass.

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

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So again, it's very conversational, making sure that everybody is on board with that.

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The clarinet part, first clarinet part especially, sits all around that throat tone range, but

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going into B and C across the break, you want to make sure that they're using resonance

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fingerings of some sort to help the technique be as clean as possible.

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And we don't want them breathing.

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Their tendency is going to be to breathe after every half note at the end of a bar.

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So follow through on that, and if they use those resonance fingerings, that's going to

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help them with that as well.

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The upper woodmines, the flute and oboe have this cool little part, and notice it's not

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it before it has just been straight up staccatos.

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Now we have some accent in it.

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They're adding in with the low brass.

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That's right.

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We want to make sure that they're punctuating those accent and note.

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Since it is different, we want to make sure that we hear that difference.

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The flutes are up a lot higher here too, so just make sure that they don't take over the

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texture.

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At measure 84, alto and horn come in with this part.

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This is new.

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I would make sure that we hear this.

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I love this part.

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This is brought out.

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I do too.

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Again, it's that chromaticism that we heard in the upper woodwinds earlier, but now we're

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hearing it in sax horn.

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Now we're at full ensemble.

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The volume is a little bit bigger, so I would bring this alto horn part out.

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And it's cool because it has the accents.

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One and two and three and four and like just really making that be a big,

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big, driving home thing.

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And then they go back up.

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Oh man, this piece is so cool.

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So I love it.

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It is really cool.

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Just continue building that same energy until we arrive at 88.

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And then 88 horn and alto still get to have that little important part.

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One, two and three and four.

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And then trumpet one and two.

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Woodwinds up going up.

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So it's just neat because we're passing it around and continuing to build it up even

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more at 90 horn and alto takeover and we've got the conversation between them and the

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trumpets at 92.

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We have got lots of accents and you can kind of treat these like bell tones and the low

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brass part.

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Trump and alto are continuing to play on this melodic feature here with clarinet.

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Again, it's it's mainly led by the horn part in my mind.

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I would definitely bring that part out the most.

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And then leading into 93 not letting your trumpets and your horns breathe there before

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94 flutes and oboes add in along with the first trumpet here on this little descending

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line going into 96.

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Then the people with the long note, the woodwinds that just had that part and the trumpets,

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they need to be very quiet on their long note and it's written in kind of a tough range.

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You have a C in trumpet.

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You have a high D in flute.

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So just be mindful of the tuning here.

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I've heard this piece executed very well, but I've also heard this piece where the band

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got very tired sounding at the end.

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And this is this could be very difficult if you don't have strong enough players just

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because the tuning can go very wonky here.

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So just be aware as we're getting towards the end, that's really important on these

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long notes.

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Then the low brass and low reeds get their cool day in the sunshine.

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They get to play these awesome quarter note lines really for articulation leading into

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the ending here.

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And then you got the horn and alto coming back with the cool chromatic line again.

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Trumpets build it up a big crash symbol or suspended symbol, something in percussion

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shoe.

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Yeah.

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Sorry.

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Crash symbol right there with trumpet and then low people, but they need to get out of the

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way so that the flute and the clarinet part can come out of the mix along with the bells.

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And then everybody ends with the same rhythm.

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One, three, one and two.

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And the crash symbols dampen.

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It's a hard like ending with those house top accents.

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I would even consider adding just a little bit of a crescendo on those last four eighth

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notes.

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One, three, one and two and just a little bit wrong earlier.

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I said one, two.

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But this piece is so fun.

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It's beautiful.

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As I mentioned before, everybody gets important parts.

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Nobody's going to go, oh man, where's my cool part?

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It's all about passing from one section to the next, passing the baton, passing the baton.

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Your kids will love this piece and will love practicing it as well.

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So we hope that you will enjoy programming this in the future.

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